Robin and Marian

James Goldman's script is razor-sharp, treating all characters, major and minor, with intelligence and compassion. The movie is shot in subdued hues, making the film more of a motion painting than picture. It is quite simply a film that must be seen -- and once seen, treasured. [29 Jul 1994, p.21]

The social satire gets precious at times, but Connery (sans hairpiece!) and Hepburn (swathed for the first hour in a nun’s wimple) bring a fervid depth of feeling to their characters’ rekindled courtship.

Sean Connery's weary Robin returns from the crusades to confront Robert Shaw's Sheriff Of Nottingham once more, but despite their heroic final duel, it's Connery's scenes with Audrey Hepburn's Marion that make the magic. [03 Jun 2006, p.53]

If nothing else, the performances of Connery and Hepburn are welcome delights.

This is a movie about the end of youth and high romance, about death and the possibility of simple human compassion.

Sedate and contemplative character piece but low on thrills.

Robin and Marian is a disappointing and embarrassing film: disappointing, because Sean Connery, Audrey Hepburn, the brilliant Robert Shaw, Richard Harris and a screenplay by James Goldman ought to add up to something even in the face of Richard Lester's flat direction; embarrassing, because the incompatible blend of tongue-in-cheek comedy, adventure and romance gives the Robin Hood-revisited film the grace and energy of a geriatrics' discotheque.