What else can be said about Robin Hood? From Kevin Costner to Russell Crowe, from Errol Flynn to Sean Connery, or from Disney's fox to Mel Brooks' parody, the legendary outlaw of Sherwood Forest has had so many lives that it's hard to find anything new in him. Perhaps that's why filmmaker Michael Sarnoski's reinterpretation with The Death of Robin Hood is irredeemably twilight. The director of Pig (2021) and A Quiet Place: Day One (2024) demythifies the hero and makes the character, in an advanced stage of his life, question his past: "I told lies so that the foolish would follow me into the darkness," he says at one point in the film. Sarnoski explores Robin Hood's guilt through a narrative that succeeds in reflecting on the ambiguity between truth and falsehood in tales of popular heroism, with a committed Hugh Jackman but with a tone too close to what he already played in James Mangold's Logan (2017). The film's gamble is, in any case, brave: the action (raw, ultraviolent) only takes place at the beginning, before giving way to a more intimate story in a sanatorium where the character arrives badly wounded. Sarnoski points to a false illusion of atonement when he hints at the possibility of a shared life between the protagonist, the prioress played by Jodie Comer, and Little John's daughter, but he doesn't manage to develop the idea beyond certain conventionalisms. The film is in large part disruptive, but also pompous and solemn.

It is not common for a director specializing in animation to pivot to live-action convincingly. And it is even rarer for the leap to be even more successful than their previous work. A notable surprise, then, is The Sheep Detectives, where Kyle Balda, one of the barons of the Gru and Minions franchise, brings to the screen the homonymous novel by Leonie Swann (published in Spanish by Salamandra), starring a woolly flock that sets out to solve a murder. It could be argued that the fact that the animals talk and move thanks to digital effects places the film on a borderline with Balda's previous experiences, but far from resorting to caricature, the filmmaker optimizes hyperrealistic technology to make it the humorous pillar of the proposal, reserving eccentricity for details that enrich the background, such as the abundance of neons that incongruously illuminate the small British town where the story takes place.

Between alcoholics' meetings, casinos, and Thai restaurants, the great showman Hugh Jackman returns to the stage with Song sung blue (2025) to step into the shoes of Mike Sardina, one half of a Neil Diamond tribute band he shares with his wife Claire, played by a long-suffering Kate Hudson. Director Craig Brewer thus changes the codes of biopic A musical to get closer to those unknown artists hidden behind imitation. But in the attempt to dignify the profession, the result once again emphasizes an overly saccharine drama, as moving as it is ironically identical to any other similar production.

The door to the room at the Bowery Hotel in New York, where our interview will take place, is only a crack open, wedged shut by the glaring omen. While we wait our turn, a cacophony of laughter and the flashes of the camera escape through the tiny hole. Los Angeles Times who has kidnapped Kate Hudson and Hugh Jackman for a photo shoot. When the door finally opens, the couple, still laughing, come to meet us, genuinely curious about our arrival and eager to learn all the details.