OUTLAW KING

“Freedom!” William Wallace (Mel Gibson) famously cries before his execution in the 1995 Academy Award–winning film Braveheart. Outlaw King begins only a few years before Wallace’s execution, and later in the film, the discovery of Wallace’s remains becomes a pivotal moment that reignites Scottish resistance. This historical action drama, a UK–USA production, positions itself as a more grounded companion to Braveheart, focusing on the rise of Robert Bruce.

The film opens as the Scottish clans, divided over who should inherit the throne, reluctantly surrender to King Edward I of England. In a visually striking but storyline unnecessary catapult sequence—clearly included for spectacle —Edward I asserts his dominance over the Scots. He then gives his goddaughter, Elizabeth de Burgh (Florence Pugh, Black Widow), in marriage to Robert Bruce, Earl of Carrick (Chris Pine). As the closest male heir to the Scottish throne, Bruce’s marriage to Elizabeth symbolically unites the two nations under English authority.

Years later—though the film conveys the passage of time somewhat unevenly—Bruce encounters the upper-left quarter of William Wallace’s body displayed in a border town. This moment becomes the catalyst for his decision to renounce his oath to Edward I and claim the Scottish crown with the support of the Church and a small group of loyal followers.

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As Bruce’s rebellion gains momentum, the English forces and several Scottish clans loyal to Edward I retaliate. His followers dwindle from fifty to forty, and with nearly an hour of the film remaining, Bruce and his men declare an end to chivalry and resolve to “fight like wolves.” A series of smaller skirmishes culminates in a final, tactically satisfying battle in which Bruce’s forces use their intimate knowledge of the land to outmaneuver a vastly larger English army.

Historically, Outlaw King is more accurate than Braveheart: there are no kilts or blue war paint, as neither would have been appropriate for the year 1304. Chris Pine portrays Robert Bruce as a quiet, contemplative leader driven by restrained but mighty resolve. His performance is understated, occasionally echoing his more modern roles (i.e. Captain Kirk), yet it effectively conveys Bruce’s vulnerability—particularly in scenes where he narrowly escapes death in combat.

Florence Pugh delivers a strong, composed performance as Elizabeth de Burgh, though the script gives her limited influence over the film’s direction. She remains the sole significant female presence, serving primarily as a symbol of loyalty and moral grounding. Among the supporting cast, Aaron Taylor-Johnson stands out as James Douglas, whose ferocity and personal vendetta against Edward I provide some of the film’s most compelling moments. Tony Curran, as Angus Og Macdonald, offers a steady and charismatic presence as Bruce’s trusted ally—because, as tradition seems to dictate, every Scottish epic must include an Angus.

Overall, Outlaw King delivers two hours of engaging, visceral entertainment. With its blend of political intrigue, strategic warfare, and a measured dose of romance, the film offers a more historically faithful—though still cinematic—portrayal of Scotland’s struggle for independence.

Published August 16, 2019