In 1302 Scotland, the lords of the land have pledged uneasy loyalty to England's King Edward (Dillane), whose cruelty leads Robert (Pine) to fight for independence. His rival for the Scottish throne (Mulvey) refuses to join him, and things take a desperate turn as Edward's son (Howle) and henchman (Spruell) engage Robert's dwindling band of rebels in increasingly ruthless skirmishes. This also threatens his daughter Marjorie (O'Brien) and his feisty new wife Elizabeth (Pugh). So as the English resort to increasingly barbaric attacks, Robert's army and resolve strengthen.

This film may be more exciting to those who don't know how history went down. Thankfully, Mackenzie resists the temptation to force a Hollywood narrative structure on the story, even as he indulges in the usual war movie beats. More interesting is the subtle drama gurgling through each scene, as Robert grapples with the ramifications of his role as king, drawing on the intelligence and loyalty of his wife, brothers and hardcore sidekicks like Taylor-Johnson's James Douglas and Curran's Angus MacDonald.

The strong characters make the elaborately staged battle sequences feel almost like filler. Pine is solid in the focal role, thoughtful and intriguing, if perhaps too much of an everyman style of monarch. It's an engaging performance, even if it doesn't banish questions of why a Scottish actor wasn't cast in the role. Meanwhile, the show-stealing role belongs to Pugh, who adds soul and subtlety to every scene. Taylor-Johnson is also terrific as the wild-eyed Douglas. And Howle tries to add texture to the somewhat one-note villain of the piece.

In the end, the film finds a few echoes of present-day resonance in the Scottish independence movement and the global struggle to reclaim democracy. And it remains consistently entertaining, with a range of vivid people, moments of earthy humour and some visceral action. There may not be much about the film that feels fresh or original, but at least Mackenzie avoids the usual rousing speeches and sentimental patriotism, opting instead for a more human approach.

themes, language, violence, sexuality

17.Oct.18 lff