'Robin Hood:' Epic visuals steal the show in revisionist action-adventure

More than once in "Robin Hood," director Ridley Scott's camera, no doubt situated high atop a crane, guides viewers right through the dense foliage of Sherwood Forest and on into Nottingham, where dozens of extras go about their business and the film brings 12th century England to believable life.

These visuals are as memorable as the battles which bookend the film.

Indeed, production design alone reflects a large and detailed budget, and helps grant the film a semi-epic status.

The movie's problems lie in Scott's emphasis on revising British history - Robin Hood and the Magna Carta! - and his decision to create a prequel to the outlaw's popular legend.

"The legend begins" are the closing lines in the film.

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Maid Marion is Lady Marion, for example, and the sheriff of Nottingham becomes a small role with roaming loyalties.

Mind you, the cast is exceptional. But for the film's length, this would keep all interested if not consistently entertained.

As the picture opens, Robin Longstride is an archer in the army of King Richard, who, having emptied his country's coffers to pay for his 10-year Crusade, is attacking every French castle on his way home in an attempt to raise enough money to pay the troops.

Robin, as played by a solemn Russell Crowe, gathers his merrier men - Little John, Allan A'Dayle and Will Scarlett - and takes off for home.

Coming upon an ambush of English knights, Robin suggests that they trade clothes with the dead men to hasten their return to England.

Channeling "Sommersby" Robin borrows the identity of a murdered knight, returning to the man's home and a wife who is not amused.

But the dead knight's father, given gusto by too-little-seen Max von Sydow, actually asks Robin to continue his charade. After all, with the owner of the land dead, it would be all too easy for the greedy Prince John - ruling in Richard's absence - to take possession of the estate, leaving the aforementioned wife (Lady Marion) with nothing to her name.

What Robin does not realize is that the British traitor who murdered the knight knows his identity, and thus is aware of Robin's ruse.

Scott takes time to have fun at the expense of the French, serving them soup and oysters.

No doubt the filmmaker viewed it as an inside joke.

Regardless, Prince John comes close to taxing his countrymen to the point of open revolt, and with the attacking French almost at the door.

No doubt to some, Scott may have made a good movie, and yet not necessarily a good Robin Hood movie.

This is, after all, a Robin who refuses to show a smile, an AWOL soldier masquerading as a knight and convincing the church, as represented by amiable bee-keeper Friar Tuck, to return stolen seed only to impress Lady Marion.

Yet if one can only set aside expectations, the movie boasts many impressive visuals propelled by fine performances.

One wishes Crowe appeared to be having more fun, but his Robin definitely commands attention and respect, precisely the reason that the egotistical Prince John cannot abide him.

As Marion, Cate Blanchett is a strong, take-charge lady of the manor, ready to use a dagger to remove Robin's manhood should he make a wrong move, gradually warming to him as he helps and then stays to fight.

Still, the movie drags on.

And this particular Marion refuses to be stereotyped as a lady, much less a maid.

William Hurt gives a strong and warmly subtle performance as an adviser to the throne whose allegiance remains even from afar.

Oscar Isaac turns Prince John into a cartoon figure, barely avoiding the thumb-sucking by the character in Disney's animated version.

Action fans will enjoy the castle-storming that opens the film, and the strategy behind it. Meanwhile, when French ships arrive at the British coast line, the ensuing battle not only carries on too long, but with few inspirational moments.

Rather, visuals bring to mind "Saving Private Ryan," especially underwater views with arrows replacing bullets. History students can tell us whether the 12th century French used landing crafts that must have inspired American forces in World War II.

Meanwhile, up on the facing cliff, Scott brings "Braveheart" to mind, as Crowe lacks only blue face paint while riding along to inspire his warriors.

Despite many impressive moments in Scott's Hollywood epic, this is not one of them.