Paul Greengrass has always been a filmmaker interested in putting audiences directly in the middle of chaos. From United 93 to the Jason Bourne films, his handheld, kinetic filmmaking style has become instantly recognizable. It is a style that certainly does not work for everyone, and it does not work in every scene of The Uprising, but for the most part, it proves surprisingly effective. Rather than simply watching the events of this historical drama unfold, Greengrass frequently makes it feel as though we are standing in the room alongside these characters, watching history happen in real time.
Set during the plague, The Uprising follows a period in which the wealthy attempt to raise taxes on an already struggling working class, eventually leading to the Peasants’ Revolt. At its center is an unnamed plowman, played by Andrew Garfield, whose decision to fight back places him at the heart of a working-class revolution. Even knowing that the film takes considerable dramatic liberties with the historical events, there is something inherently fascinating about the story Greengrass is telling. It is, at its core, a story about what happens when people who have been pushed to their breaking point finally decide that they have nothing left to lose.
Garfield gives a terrific performance in the lead role. His character is particularly interesting because of his past and his complicated relationship with faith. Religion is not simply background material here; it becomes an important part of how this man understands the world around him and justifies the increasingly violent actions he takes. Garfield brings a sense of humanity and internal conflict to the character, even when the screenplay turns him into something closer to an action hero.
That transformation is one of the film’s biggest weaknesses. The Uprising does not quite do enough to establish how its protagonist goes from an ordinary plowman to someone seemingly capable of taking on virtually anyone who stands in his way. Garfield often feels like an unstoppable action hero from the very beginning, rather than someone who gradually becomes one through the events of the story. There is never quite a convincing progression that explains why this particular man possesses such extraordinary abilities. At times, it feels as though we simply have to accept that he is a medieval plowman with a particular set of skills.
Still, there is an undeniable scale to what Greengrass has constructed. The Uprising is an impressive production, filled with enormous sets, crowds of extras and sprawling battle sequences that give the Peasants’ Revolt a genuine sense of magnitude. Greengrass’s handheld camerawork contributes to that scale in an unusual way. Rather than making the spectacle feel polished or overly choreographed, the camera often makes it feel immediate and chaotic. There are moments when it resembles a documentary, as though a camera crew somehow happened to be present during these historical events.
That approach also makes the film’s violence feel especially brutal. Unfortunately, the movie occasionally leans too heavily on that violence, particularly in its second act. The film slows down considerably in the middle, and some of the confrontations begin to feel repetitive. There are also moments when the physicality of the action becomes difficult to believe, especially when Garfield’s character repeatedly survives situations that should seemingly be impossible. The handheld style can amplify the intensity, but it can also make certain sequences feel less coherent than they should.
One of the most interesting elements of The Uprising is its connection to the Robin Hood mythology. A somewhat unexpected shift in the film’s marketing shortly before release revealed the movie’s relationship to the legendary outlaw. Robin Hood is never explicitly named as the central figure, but the idea that these historical events could have inspired the familiar story is woven into the film’s themes. The concept of taking from the wealthy and giving to the poor fits naturally into a story about a working-class rebellion against an oppressive ruling class. In that sense, The Uprising can almost be viewed as a Robin Hood origin story, and it works surprisingly well in that context.
The film also benefits from a strong supporting cast, particularly Woody Norman as King Richard II. Norman is almost unrecognizable from his breakout performance in C’mon C’mon. Here, he plays a young king who initially inspires something closer to sympathy than hatred. As the story progresses, however, that perspective changes. By the end, the film has successfully positioned Richard and his army as the embodiment of the system that its working-class characters are desperately fighting against, making it easy to find yourself rooting for the rebellion.
The third act also gives the movie a much-needed jolt of energy. After the slower middle portion, the final stretch contains several genuinely devastating moments that give the uprising emotional weight beyond the spectacle. The film’s themes of class, faith, power, and rebellion come together effectively, even if the execution occasionally feels uneven.
The Uprising may not rank among the year’s best films, but it is nevertheless an impressive piece of filmmaking. Greengrass’s signature style will inevitably divide audiences, and the movie’s second act and occasionally implausible action keep it from reaching its full potential. Yet the scale of the production, the performances from Garfield and Norman, and the inherently fascinating story at its center make this a worthwhile historical epic filled with intensity. Most importantly, there is something timeless about its central idea: when those in power push the people beneath them too far, eventually someone has to be the first person to fight back.
SCORE: 7/10
As ComingSoon’s review policy explains, a score of 7 equates to “Good.” A successful piece of entertainment that is worth checking out, but it may not appeal to everyone.
Disclosure: ComingSoon attended a press screening for our The Uprising review.
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