The Foreigner’s Redemptive Second Chance on Netflix: Taron Egerton’s Biggest Box Office Flop Revived

Hollywood stardom is a cycle, with It Boys and Girls emerging every couple of years and going through periods of ubiquity before they either make it to mega-stardom or decide to take a different path. While that initial push by producers and studios of “Hey, world, here’s your new leading actor!” can be distasteful or off-putting to audiences who haven’t quite embraced an up-and-coming actor yet, it can also leave the projects these ingenues make during this period high and dry, the films themselves treated like a byproduct of a separate agenda. Granted, some of these films starring not-quite stars as the leads can feel awkward in retrospect, yet some look like hidden gems in hindsight. Or, if not quite gems, then at least decent entertainment that shouldn’t have been lost in the shuffle.

Taron Egerton is a star who, in the few years between his breakout role in “Kingsman: The Secret Service” and playing Elton John in the cruelly-robbed-of-Academy-Awards “Rocketman,” looked like he may be the next member of the A-list. While that didn’t quite happen for the Welsh actor (at least, not yet), he’s nonetheless built himself a respectable filmography on the big and small screens, garnering notices for those aforementioned films as well as for the miniseries “Black Bird” on AppleTV+. One of Egerton’s films that did not perform very well critically or commercially is 2018’s “Robin Hood,” starring Taron as Robin of Loxley. Directed by “Peaky Blinders” alumnus Otto Bathurst, the film made only $86 million on a $100 million budget, ensuring that this umpteenth trip to Sherwood Forest wasn’t a very fruitful one.

Yet while streaming services can be problematic in making audiences aware of new and exclusive movies and shows (have you heard of the Emmy-winning “Black Bird” before now?), they still function very well in the same manner as cable television and video stores used to giving obscure or overlooked movies new life. In that vein, “Robin Hood” has been resurrected, as enough people have discovered it on Netflix that it’s recently cracked the service’s top ten list of movies as of this week.

Upon its release in November of 2018, “Robin Hood” received a slew of “bad movie” responses. It garnered a 14% Rotten aggregate rating on Rotten Tomatoes. It was nominated for three Razzies. On this very website, Karen Han gave the movie a 5 out of 10. Perhaps the most “damning with faint praise” response was the movie’s CinemaScore grade: a “B.” Though the criticisms against the film mentioned things like its various anachronisms, half-baked dialogue, and logic issues, it must be said that the major element working against the movie at the time was the long cinematic legacy of Robin Hood himself.

Adaptations of the legend from English folklore have been seen in films since the dawn of the medium, with Douglas Fairbanks’ first turn as the character happening in 1922. Since then, several milestone versions of the character and his story have been produced, everything from 1938’s “The Adventures of Robin Hood” to 1991’s “Robin Hood: Prince of Thieves.” It’s perhaps the one-two punch of Mel Brooks’ parody “Robin Hood: Men in Tights” and Ridley Scott’s lackluster “Robin Hood” from 2010, with Russell Crowe in the title role, that gave general audiences the sense that the character was all washed up. Not helping matters were things like director Guy Ritchie’s “King Arthur: Legend of the Sword” and TV shows like “Arrow,” neither of which are Robin Hood stories per se, but feel close enough that audiences weren’t exactly jonesing for a new take on the man, despite Hollywood being bullish on the character around the latter part of the 2010s.

Although 2018’s “Robin Hood” was hardly anticipated during an era where Marvel superheroes and other, far more modern or fantastical characters were flooding movie screens, it still manages to hold its own as a movie, especially in hindsight. In addition to Egerton (who does a fine job as the character, bringing his brash charm to the proceedings), the film features great turns by Jamie Foxx as John, Jamie Dornan as Will Scarlet, and Ben Mendelsohn as the Sheriff of Nottingham. It also has opulent costumes, big sets, lavish and kinetic set pieces, scenes featuring Robin rousing the oppressed people of Sherwood to action, a propulsive score by Joseph Trapanese, and then some. It’s competent and compelling enough that it’s a genuine shame that Bathurst has essentially gone to movie directing jail ever since; though his career on television is still active, he has yet to helm another feature.

While no one is arguing that this “Robin Hood” is some unsung masterpiece, it’s a very enjoyable programmer of a movie, and it makes sense that folks are finally coming around to it now. It’s the kind of film that other directors like Guy Ritchie, Paul WS Anderson, Jaume Collet-Serra, and the like tend to make their careers out of, solid action and fantasy films that don’t necessarily light the world on fire but have a special spark to them regardless. Although “Robin Hood” didn’t make Taron Egerton the A-list star he perhaps hoped it would, as these viewership numbers prove, it’s certainly keeping his stardom alive.