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Directed by | |||
| Kevin Reynolds | |||
Writing credits(WGA) | ||
| Pen Densham | (story) | |
| Pen Densham | (screenplay) & | |
| John Watson | (screenplay) | |
Produced by | |||
| Gary Barber | .... | executive producer | |
| Pen Densham | .... | producer | |
| Michael J. Kagan | .... | co-producer | |
| Richard Barton Lewis | .... | producer | |
| David Nicksay | .... | executive producer | |
| James G. Robinson | .... | executive producer | |
| John Watson | .... | producer | |
| Kevin Costner | .... | producer (uncredited) | |
Original Music by | |||
| Michael Kamen | |||
Cinematography by | |||
| Douglas Milsome | |||
Film Editing by | |||
| Peter Boyle | |||
Casting by | |||
| Noel Davis | |||
| Ilene Starger | |||
| Jeremy Zimmerman | |||
Production Design by | |||
| John Graysmark | |||
Art Direction by | |||
| Fred Carter | |||
Costume Design by | |||
| John Bloomfield | |||
Makeup Department | |||
| Christine Allsopp | .... | makeup artist | |
| Lynda Armstrong | .... | makeup artist | |
| Daniel Parker | .... | makeup artist | |
| Lisa Tomblin | .... | hair stylist | |
Production Management | |||
| Malcolm J. Christopher | .... | production supervisor (as Malcolm Christopher) | |
| Michael Hartman | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Lee Cleary | .... | key second assistant director | |
| Jamie Fowlds | .... | trainee assistant director | |
| Marios Hamboulides | .... | trainee assistant director | |
| Nick Heckstall-Smith | .... | second assistant director: second unit | |
| Peter Heslop | .... | second second assistant director | |
| Mark Illsley | .... | second unit director | |
| Max Kleven | .... | second unit director: action sequence | |
| Adam Somner | .... | third assistant director | |
| David Tringham | .... | first assistant director | |
Art Department | |||
| Alan Cheevers | .... | plasterer | |
| John Chisholm | .... | property master | |
| Dominique Coste | .... | art department | |
| Patricia Johnson | .... | draughtsman | |
| Gwendolyn Margetson | .... | draftsperson | |
| Giles Masters | .... | assistant art director | |
| Mark Reynolds | .... | stand-by props: second unit | |
| Bill Stallion | .... | storyboard artist | |
Sound Department | |||
| Anna Behlmer | .... | sound re-recording mixer | |
| Joe Dorn | .... | adr editor | |
| Robert Grieve | .... | supervising sound editor | |
| Steve Mann | .... | sound effects editor | |
| Courtenay Marvin | .... | assistant sound editor | |
| James Matheny | .... | dialogue editor | |
| Chris Munro | .... | sound mixer | |
| Greg Orloff | .... | foley mixer | |
| Judy Oseransky | .... | assistant sound editor | |
| Roy Seeger | .... | assistant adr editor | |
| Frank Smathers | .... | dialogue editor | |
| Mark Smith | .... | sound re-recording mixer | |
| Otto Snel | .... | sound re-recording mixer | |
| Lionel Strutt | .... | adr mixer | |
| David Williams | .... | dialogue editor | |
| David W. Alstadter | .... | foley mixer (uncredited) | |
| Carmen Flores De Tanis | .... | assistant sound editor (uncredited) | |
| David R. Finkelstein | .... | assistant foley editor (uncredited) | |
| Dennis Leonard | .... | additional sound re-recording mixer (uncredited) | |
| John Roesch | .... | foley artist (uncredited) | |
| Carolyn Tapp | .... | foley recordist (uncredited) | |
Special Effects by | |||
| Steve Hamilton | .... | senior special effects technician | |
| Barry Whitrod | .... | special effects | |
Visual Effects by | |||
| Craig Barron | .... | visual effects supervisor: Matte World | |
| Rob Burton | .... | visual effects | |
| Krystyna Demkowicz | .... | executive in charge of production: Matte World | |
| Joel Hladecek | .... | motion control camera | |
| Rich McKay | .... | camera assistant | |
| Michael Pangrazio | .... | matte artist supervisor | |
Camera and Electrical Department | |||
| Mike Brewster | .... | camera operator: second unit | |
| Bob Bridges | .... | assistant camera | |
| Gary Cross | .... | gaffer: second unit | |
| Mike Frift | .... | camera operator | |
| W.C. 'Chunky' Huse | .... | key grip | |
| Alan Martin | .... | gaffer | |
| Jason Martin | .... | best boy | |
| David Tondeur | .... | assistant camera | |
| John Ward | .... | Steadicam operator | |
| Carlos Melville | .... | electrician (uncredited) | |
Costume and Wardrobe Department | |||
| Elvis Davis | .... | set costumer | |
| Michael McGarrigle | .... | wardrobe assistant | |
| Dominic Young | .... | costume workroom assistant | |
Editorial Department | |||
| Joss Agnew | .... | second assistant editor | |
| Peter Hollywood | .... | editor: special sequences | |
| Carole A. Kenneally | .... | assistant editor | |
| Alexandra Leviloff | .... | second assistant editor | |
| Jonathan Lucas | .... | first assistant editor | |
| Robert C. Lusted | .... | assistant editor (as Bob Lusted) | |
| Marcus Manton | .... | additional editor | |
| Bob Putynkowski | .... | color timer | |
| Glenn Richard Côté | .... | assistant to editor (uncredited) | |
Music Department | |||
| Chris Boardman | .... | orchestrator | |
| Christopher Brooks | .... | music editor | |
| Harvey Cohen | .... | orchestrator | |
| Don Davis | .... | orchestrator | |
| Richard Davis | .... | orchestrator | |
| Robert Fernandez | .... | music engineer | |
| Robert Fernandez | .... | scoring mixer | |
| J.J. George | .... | assistant music editor | |
| Jack Hayes | .... | orchestrator | |
| Elliot Kaplan | .... | orchestrator | |
| Stephen McLaughlin | .... | music mixer | |
| Albert Lloyd Olson | .... | orchestrator | |
| Eric Reasoner | .... | music editor | |
| Lolita Ritmanis | .... | orchestrator | |
| William Ross | .... | orchestrator | |
| Patrick Russ | .... | orchestrator | |
| Jonathan Sacks | .... | orchestrator | |
| Brad Warnaar | .... | orchestrator | |
| Mark Watters | .... | orchestrator | |
| Bruce Babcock | .... | orchestrator (uncredited) | |
| Michael Kamen | .... | conductor (uncredited) | |
| Michael Kamen | .... | orchestrator (uncredited) | |
Transportation Department | |||
| Brian Hathaway | .... | transportation coordinator | |
| Mark White | .... | transportation | |
Other crew | |||
| Mark Bunce | .... | chef | |
| David Chorley | .... | chef | |
| Kevin Costner | .... | production consultant | |
| Gabe Cronnelly | .... | archery coach | |
| Susan d'Arcy | .... | unit publicist | |
| Reg Dent | .... | horse supplier | |
| Steve Dent | .... | assistant horse master | |
| Steve Dent | .... | horse supplier | |
| Wayne Docksey | .... | animal master: Animal Acting | |
| Michelle Fox | .... | production associate | |
| Ira Friedlander | .... | production accountant | |
| Rowley Irlam | .... | rider | |
| Samantha C. Kirkeby | .... | script supervisor | |
| John Lees | .... | fitness coach | |
| Neil Ravan | .... | location manager | |
| Tony Smart | .... | horse master | |
| Alan Sutton | .... | fire officer | |
| Kathleen Switzer | .... | assistant: Kevin Reynolds (as Kathleen A. Switzer) | |
| Mark Thomason | .... | photo double | |
| Mark Thomason | .... | stand-in | |
| Terry Walsh | .... | sword master | |
| Andrew Jack | .... | dialect coach: Michael McShane (uncredited) | |
| Craig Stevenson | .... | assistant sword master (uncredited) | |
| Pam Weaver | .... | animal handler (uncredited) | |
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| The Adventures of Robin Hood | Robin Hood | Robin and Marian | The Chronicles of Narnia: The Lion, the Witch and the Wardrobe | Braveheart |
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It's not so much that Kevin Costner lacks an English accent: it's that he HAS an American accent. A PARTICULAR American accent. I don't care if that's the way everyone spoke back in the twelfth century; in the context of this film, it sounds as if someone has wandered off the west coast of the United States wearing sunglasses. I admit there COULD have been artistic justification, but there isn't.
Shall we play spot-the-anachronism? It's all too easy, but I'll start with a less obvious one: the longbow. The longbow was a powerful, advanced weapon that everyone has associated with Robin Hood since the legend became a legend, but it hadn't been invented that century. That's okay. If it's part of the legend, it's part of the legend; but I resent inflation taking hold. Azeem (a Moor, who has no business here) has somehow got hold of the secret of gunpowder off the Chinese. He even knows how to synthesise the stuff from materials lying around in England. He carries a telescope as good as anything Galileo would come up with in the SIXTEENTH century. What next? An Aztec who can make methane-powered generators out of old drainpipes? The twelfth-century Indian inventor of silver nitrate photography? Besides, Azeem's inventions come across as clumsy plot devices. How will we get the heroes out of THIS pickle? I know! New technology!
The `arrow-cam' shot is ludicrous, Azeem's `you saved my life, now I am your servant' schtick belongs in a sitcom, Alan Rickman's sheriff is possibly the hammiest villain I've seen in my life, the geography of Nottingham Forest is anyone's guess (it becomes Nottingham Field when the plot requires) - and, as a general verdict, most items of Robin Hood mythology are still there, but twisted ALMOST beyond recognition, into something hideous. Really, there's no one, overall fault; but I deeply loathe the whole. And I'm no purist. The OTHER `Robin Hood' released that year (outside America at, any rate), with Patrick Bergin in the title role, was even further removed from the world of Merrie Olde England, but I liked its honesty and consistency. There's no doubt that it was the better film.
P.S.: This film started the trend of playing a modern pop song over the end credits of any film at all, regardless of its mood or musical score. It's a trend to be deplored.