With King Richard off to the Crusades, Prince John and his slithering minion, Sir Hiss, set about taxing Nottingham's citizens with support from the corrupt sheriff - and staunch opposition by the wily Robin Hood and his band of merry men.
A mixed-reviewed entry in the Disney animated canon, Robin Hood charmed some critics with its likable animal characters and breezy humor while leaving others cold with animation quality they compared unfavorably to TV cartoons and a near-total absence of the wonder and darkness that defined the studio's earlier classics. Audiences have warmed to it more than contemporary critics did, though even sympathetic reviewers acknowledged it as a lesser Disney effort.
“Even at its best, Robin Hood is only mildly diverting. There is not a single moment of the hilarity or deep, eerie fear that the Disney people used to be able to conjure up, or of the sort of visual invention that made the early features so memorable. Robin Hood's basic problem is that it is rather too pretty and good natured.”
Jay Cocks·Time
“80 minutes of pratfalls and nincompoop dialog”
Gene Siskel·Chicago Tribune
“for the most part the film is as bland and one-dimensional as the product of less sophisticated studios; and except for Peter Ustinov's plummy Prince John, the voice characterisations are as insipid as the animation is unoriginal”
John Baxter·The Monthly Film Bulletin
“while this is hardly the most dazzling of animated features, it has that cut-corner feel that seem to hold sway in the '70s (mainly because Disney were cutting corners), the characters spark to life, and the story remains as rock steady as ever”
Ian Nathan·Empire
“nicely tongue-in-cheek without insult to the intelligence of either child or adult”
Judith Crist·New York
Adventure, Animation, Comedy
With King Richard off to the Crusades, Prince John and his slithering minion, Sir Hiss, set about taxing Nottingham's citizens with support from the corrupt sheriff - and staunch opposition by the wily Robin Hood and his band of merry men.
A mixed-reviewed entry in the Disney animated canon, Robin Hood charmed some critics with its likable animal characters and breezy humor while leaving others cold with animation quality they compared unfavorably to TV cartoons and a near-total absence of the wonder and darkness that defined the studio's earlier classics. Audiences have warmed to it more than contemporary critics did, though even sympathetic reviewers acknowledged it as a lesser Disney effort.
“Even at its best, Robin Hood is only mildly diverting. There is not a single moment of the hilarity or deep, eerie fear that the Disney people used to be able to conjure up, or of the sort of visual invention that made the early features so memorable. Robin Hood's basic problem is that it is rather too pretty and good natured.”
Jay Cocks·Time
“80 minutes of pratfalls and nincompoop dialog”
Gene Siskel·Chicago Tribune
“for the most part the film is as bland and one-dimensional as the product of less sophisticated studios; and except for Peter Ustinov's plummy Prince John, the voice characterisations are as insipid as the animation is unoriginal”
John Baxter·The Monthly Film Bulletin
“while this is hardly the most dazzling of animated features, it has that cut-corner feel that seem to hold sway in the '70s (mainly because Disney were cutting corners), the characters spark to life, and the story remains as rock steady as ever”
Ian Nathan·Empire
“nicely tongue-in-cheek without insult to the intelligence of either child or adult”
Judith Crist·New York
Adventure, Animation, Comedy