There are no major surprises here. It's a family-friendly(ish) revision of the Robin Hood tale, fast-forwarding a few years so that his daughter can have her own adventure and prove loyalty to a new king. There are definite Girl Power vibes, complemented with customary themes of defying traditional and familial expectations, pride and stubbornness, daddy issues, oppression by the rich and powerful, finding courage - and a terribly contrived romantic element that's distinctly, tawdrily forced. Robin is a mostly absent father, Marion is dead because that's the only thing older women are allowed to be aside from manipulative antagonists, and heroine Gwyn's story echoes the most oft-repeated rendition of the classic tale we know. Add in one young up-and-comer who was then just earning her own reputation, one or two very recognizable names to lend star power, and voila! A movie! 'Princess of thieves' isn't anything we've seen before, but it's suitably enjoyable for a lazy day.
The production design and art direction are solid; fine work went into the picture from behind the scenes. Costume design, hair and makeup, set design and decoration, and props and weapons are all swell. Peter Hewitt's direction is perfectly competent, and though built more than not on one convention after another, Robin Lerner's screenplay duly meets the needs of modest action-adventure. The cast is restricted by material that's unremarkable in the first place, and that's further toned down per the demands of Disney, but all perform admirably to bring their characters to life. Keira Knightley illustrates her developing potential in the lead role; Jonathan Hyde revels in the overconfident personality of Prince John, while Malcolm McDowell is a steady anchor for any project.
While decidedly common, the greatest fault of 'Princess of thieves' is simply that the specifics of its construction dampens its best impact. Despite the very title and premise, at no few points this movie seems more like the story of Philip than of Gwyn as the young king is spotlighted and takes charge. The tale of Robin Hood could and should be a saga of popular uprising, of the people seizing their rights and destiny from the clutches of a corrupt and abusive state, but such notions are given scant, fleeting treatment here. (And while they could be a powerful and influential force for good, Disney is the last corporation that would truly look to inspire individual agency against monolithic entities.) And like the themes the film does emphasize, the utmost value of storytelling judiciousness is lost in oversimplified and ham-handed writing that's geared toward feel-good family fare. It's unfortunate, because the end result is that this just isn't all that it could have been if all bindings were loosed.
One is left wistfully yearning that all involved - cast, crew, flim-makers - could have spearheaded a production that wasn't confined to the auspices of Disney's kitsch. Still, though it's far from perfect, none of the flaws and shortcomings that present completely erase the entertainment. Even if you're an especial fan of someone on hand, there's nothing about this so special as to demand viewership; all the same, if you're looking for something light and uncomplicated, this is a decent way to fill 90 minutes. Don't go out of your way for 'Princess of thieves,' but it's satisfactorily enjoyable if you come across it.
The production design and art direction are solid; fine work went into the picture from behind the scenes. Costume design, hair and makeup, set design and decoration, and props and weapons are all swell. Peter Hewitt's direction is perfectly competent, and though built more than not on one convention after another, Robin Lerner's screenplay duly meets the needs of modest action-adventure. The cast is restricted by material that's unremarkable in the first place, and that's further toned down per the demands of Disney, but all perform admirably to bring their characters to life. Keira Knightley illustrates her developing potential in the lead role; Jonathan Hyde revels in the overconfident personality of Prince John, while Malcolm McDowell is a steady anchor for any project.
While decidedly common, the greatest fault of 'Princess of thieves' is simply that the specifics of its construction dampens its best impact. Despite the very title and premise, at no few points this movie seems more like the story of Philip than of Gwyn as the young king is spotlighted and takes charge. The tale of Robin Hood could and should be a saga of popular uprising, of the people seizing their rights and destiny from the clutches of a corrupt and abusive state, but such notions are given scant, fleeting treatment here. (And while they could be a powerful and influential force for good, Disney is the last corporation that would truly look to inspire individual agency against monolithic entities.) And like the themes the film does emphasize, the utmost value of storytelling judiciousness is lost in oversimplified and ham-handed writing that's geared toward feel-good family fare. It's unfortunate, because the end result is that this just isn't all that it could have been if all bindings were loosed.
One is left wistfully yearning that all involved - cast, crew, flim-makers - could have spearheaded a production that wasn't confined to the auspices of Disney's kitsch. Still, though it's far from perfect, none of the flaws and shortcomings that present completely erase the entertainment. Even if you're an especial fan of someone on hand, there's nothing about this so special as to demand viewership; all the same, if you're looking for something light and uncomplicated, this is a decent way to fill 90 minutes. Don't go out of your way for 'Princess of thieves,' but it's satisfactorily enjoyable if you come across it.