Tom Dooley I am a big fan of the Golden age of Hollywood and Errol Flynn will always hold a soft spot in my heart. This tells the story of how the aging and ill Flynn met his last wife. She was a mere 15 years old – one Beverley Aadland (Dakota Fanning). This was a spirited girl who was being driven to be an actress by her alcoholic mothers own ambitions. This is Florence Aadland played brilliantly by Susan Sarandon.From what I know of this part of Flynn's life the film is fairly faithful to the facts. Kevin Kline as the ageing Lothario is actually excellent – he plays the part with enough of the rogue to be believable but with the right level of empathy to make the man live. They also recreate some of the last filmatic roles and that part of the film is very enjoyable.The problem is it does not go anywhere too exciting in the 94 minute run time and so has been criticised for that. That said I really enjoyed it. I think you will get a lot more out of this if you are interested in Flynn and enjoy a good performance or two and this certainly has that.

ppilf I eagerly awaited the release of this movie. And it met my expectations well, which is unusual because most movies that I highly anticipate end up disappointing me due to my built-up expectations. This one didn't. It is very well made from beginning to end. All three main actors did a great job portraying their characters; true professionals. Kevin Kline's depiction of Errol Flynn was amazing. His was the most demanding role because the whole world knows Errol Flynn. I love historical reality dramas like this when produced properly by professionals. Films like this not only require highly experienced and talented people, but require a great deal of research and preproduction. To me these movies come the closest to reverse time travel. This movie did a very good job of transporting me back to 1950s Hollywood, to the streets and sound stages of Warner studios, and witnessing the last private two years of the aging bigger-than-life star Errol Flynn. As every movie critic knows, the quintessential trait of a good movie is the ability to make the viewer forget he/she is watching a movie. Reality and accuracy are important to me. I'm a fan of the reality film noir genre. I don't like the older "big production" historical or biopic movies that put on airs and over-glamorize like a 17th century opera. I truly think people who gave this movie a bad review simply aren't qualified to critique biographical films, or appreciate the art and science of film production. I think they might also have a preconceived notion of what Errol Flynn's life should have been like, which is narrow-minded. These people probably have a taste for the old phony fantasy biopics that I dislike so much, such as "Night and Day"(1946), a badly embellished film about composer Cole Porter. Errol Flynn was certainly a megastar who led a life of fame and fortune, but it wasn't all as grandiose and wonderful as some people might think, especially due to Flynn's lifelong health problems. I will agree that perhaps it would have been nice if this movie had some scenes aboard Flynn's famous yacht Zaca, and scenes of the lavish trips and gala Hollywood elite events that Flynn and Aadland attended. Unfortunately, historical biopics like this just don't draw the huge young and dumb movie crowd that action-hero, sci-fi, and space thrillers do. And I just don't feel right taking points off my rank of a biographical film only because it lacked money in its budget. I'm always thankful for talented film producers, directors, actors, and crews who provide their valuable time and talents making wonderful biopics like this. There aren't many people in the general movie-going public who appreciate these rare productions. My DVD of this movie is one of my highly valued film art possessions.

drjgardner Errol Flynn was one of my favorite actors and one of the most popular actors from the mid 30s through the 50s. Even today, "Robin Hood" (1938), "Light Brigade" (1936), "Dawn Patrol"(1938), "Sea Hawk" (1940), "They Died with their Boots On" (1941), and "Roots of Heaven" (1958) – to name just a few - stand the test of time. How disappointing then such a bland film as "Last of Robin Hood" seeks to capture his final years. I kept hoping that this film would do for Flynn what "Chaplin" (1992) did for Chaplin (curiously enough Kevin Kline gives excellent performances in both: he played Douglas Fairbanks in the Chaplain biopic).Putting aside Kline's strong performance and his ability to look like Flynn, the rest of the film is torturous, more like a docudrama than a biography. The film fails to capture the 50s in spirit, despite the extensive use of 50s cars. And the references to Hollywood insiders like Melvin Belli will be lost on almost everyone.If you're a big Errol Flynn fan you want to give this one a miss.

jdesando "In like Flynn," a colloquial expression based on the dissolute life of Errol Flynn.Because Kevin Kline looks like an aging Errol Flynn (he died at 50), it's easy to believe Kline's depiction of the swashbuckling roué from early 20th Century American film in The Last of Robin Hood. Yet, if you want really to experience the bad boy who gave Robin life, read his autobiography, My Wicked, Wicked Ways. Sadly this film is a dull, soporific take on the last years of Flynn.Not that Kevin Kline doesn't have the ability to be roguish like Flynn, it's just that he appears to have been directed to underplay the famous rake, a letdown for those of us hoping to experience the wild wicked one. Instead, this Flynn is pursuing a much younger woman, Beverly Aadland (Dakota Fanning), with a feeling of entitlement and an ennui-subtle sense of "been there." More interesting than the moribund Flynn is Beverly's mom, Florence (Susan Sarandon) -- a stage mom if there ever was one. Her machinations to get her daughter into films are almost unbelievable. When she realizes her underage daughter is sleeping with Flynn, the other side of her ambition, the love of a mother, rings true as a contrast. However, she allows the affair. To their credit, Fanning and Kline seem to care about each other to the extent that any moral outrage about statutory rape is slightly mitigated.Although the script doesn't allow for the dramatic energy that should accompany his shenanigans, brightening the dim movie is Sarandon's ambitious mom with dorky glasses and fat—she steals whatever show there is to take.So if you want to witness the quiet decline of a glamorous pedophile, the coda to Flynn's checkered life is gently carried out by Kevin Kline as if in hospice. It's the last of an outrageous actor. R.I.P.