Between historical films like Braveheart, Rob Roy, and Outlaw King that weave legend into blockbuster theatrics, there’s always something exciting about these powerful tales of heroism. As this intense, gritty genre has long captured our imagination through rebellion and timeless struggles, studios are digging into more historical events for big-screen attractions. Making its world premiere at the Toronto International Film Festival last week, BAFTA-winning filmmaker Nick Hamm’s latest brings the legend of a well-known Swiss folk hero to theaters with the adaptation of William Tell. Shining as an epic that delivers visual splendors and powerhouse performances led by Claes Bang, Connor Swindells, and Rafe Spall, the film excels in its breathtaking landscapes and gritty battle sequences but struggles to find its tonal consistency.

Shot on location in Italy with South Tyrol serving as the backdrop of 14th-century Switzerland’s more somber events, William Tell creates a vividness for the audience that is genuinely interesting and engaging. But through its stunning visuals and strong performances, there is a disconnect in the emotional impact that audiences need to create a strong resonance. While the film is a noteworthy addition to the genre and plays alongside some of the ‘90s best epics, it often veers into sweeping drama and action-packed spectacle without firmly defining itself across its 133 minutes. Not to mention, it employs an overused plot device that feels superficial and falls short of its core story.

What Is ‘William Tell’ About?
Image via TIFF

In case you don’t remember the tale or the overture to the famed opera, William Tell opens up with a reminder that finds the titular hero (Bang) forced to shoot an apple off his son’s head from a distance. The moment is as tense and nerve-wracking as you would imagine, instantly hooking the audience and their sweaty palms into the story through the curiosity of how things got to this point. Backtracking three days with Europe on the brink of war and the Swiss people having a rough time, an evil, eye-patch-wearing Austrian king, Albrecht (Sir Ben Kingsley), and his tax-collecting bullies are making life a living hell for everyone and harassing communities.

Gritty and unforgiving, the story gets started after a shocking act of violence finds a villager immediately seeking revenge after his wife is assaulted and murdered. Though the brutal start sets the film’s tone for some bone-crunching action and a bunch of men (and two leading women) saving the day, it’s this commodification of assault that feels a bit shiftless. There are embellishments in the film for cinematic appeal when you acknowledge its lore, so the assault could have been avoided on paper as it is a tireless plot device that underscores the white male savior culture.

That said, the film makes its mark after the villager crosses paths with William, who just wants a quiet life after fighting with the Knights Templar during the Crusades. But peace is not that simple for him. With the locals fed up and the abuse of power all around, the weary marksman rises to the occasion. Picking up his crossbow, he prepares to lead the charge against the oppressive Hapsburgs and goes toe-to-toe with the king’s henchman, the loathsome Viceroy Gessler (Swindells). Along the way, William gets the help of his friends and former army men to help, including fellow Crusader Stauffacher (Spall).

While it appears like a band of merry men seeking justice, things get a lot more intense. Moreover, the film does what other epics haven’t really done in the past, which is delving into the folk hero’s PTSD. Filled with some heavy emotional drama, gruesome fight scenes, and hand-to-hand combat sequences that rival the best of the genre, William Tell marries some of our favorites from the ’90s for a revenge-driven story that highlights the cost of war, its toll on our mental welfare and hints at a larger story beyond the hero — one that might even conjure up another chapter, should Hamm undertake the project.

‘William Tell’ Aims High With Its Strong Performances
Image via Eagle Pictures

While the film doesn’t shy away from showcasing the brutal realities of a rebellion against an oppressive regime, William Tell blends moments of quiet suspense with high-stakes action and performances that highlight the exhaustion of war. This is best seen in William, who grapples with being a reluctant hero and a father as he manages his trauma from the Crusades. Bang, who is best known for his role in the Palme d’Or-winning film The Square and Robert Egger’s The Northman, delivers a powerful and absorbing performance of the folk hero. Bringing a subtle depth and authenticity to the character, Bang’s portrayal of William is nuanced through emphatic expressions and a brooding intensity that stresses his character’s emotional and psychological scars.

With choreographed fight scenes that make it clear William Tell is a formidable warrior, Bang embodies that resilience through a commanding presence that makes him exciting to watch on screen. His chemistry with his co-stars is multifaceted and enriches the tale, especially the interactions he shares with Golshifteh Farahani, who plays William’s wife. Farahani’s character might highlight William’s softer, more vulnerable side, but it’s this duality that creates a sharp and nourishing dynamic for the film.

In supporting roles that add hard-hitting dynamism to the film’s direction is Spall as William Tell’s friend Stauffacher and the villainous and perfectly hated Swindells as Gessler, the king’s right-hand man. While Spall is always a joy to watch and adds a sharp, energetic performance to William Tell, the actor remains one of our generation’s best and most underrated performers. He is consistently frank in his performances to create a strong, memorable value to the story. Alongside that gripping appeal is Swindells, who manages to be a snide, loathsome villain that adds a focused vigor to the cast. Best known for Sex Education and Barbie, Swindells takes this role for a complete spin, eating up every scene he’s in. That unrestrained intensity eventually raises the stakes of Gessler’s confrontation with William, giving us one of the most fierce scenes in the film.

‘William Tell’ Suffers From Inconsistencies Between Character and Story
Image via Eagle Pictures

But while the film excels with its core cast, it also underutilizes its supporting talent, including the characters in the secondary plot that involves the king’s niece (Ellie Bamber) and a Swiss nobleman (Jonah Hauer-King). It’s this aspect that highlights some of the film’s inconsistent tones. The two feel rather out of place despite doing their best with the written material and honoring their characters, who eventually join the central group. But it’s stale and lacks strong narrative relevance, making their scenes rather exhaustive and the type that could easily be cut out to lessen the runtime.

Kingsley as the cold, calculating Austrian king, is at times scary, but there doesn’t appear to be much here to loathe him. He has bailiffs doing his dirty work and has an eye patch that veers too far into villainous trope culture. While his character is driven by ego, the Gandhi actor brings enough credibility to fill in the gaps of the role. But this trope feels predictable and overused, lacking any originality that doesn’t exactly contribute to the overall story.

Despite William Tell’s grand setting and lush cinematography that at times feels painterly, the film struggles to maintain its balance. Between grand melodrama and action sequences that rival Braveheart or even The Last of the Mohicans, the film wants to embrace a more over-the-top campiness but devolves into an earnest realm that somewhat weakens its impact. That said, it’s still an epic feature that scratches the historical itch audiences might have with grand battles, menacing villains, and sweeping vistas that evoke the grit and glory of its cinematic predecessors. Offering a fresh take on a legendary folk hero, William Tell’s solid cast and engaging battle sequences will keep viewers hooked. Easy to overlook its faults with impressive sequences, performances and sharp cinematography, the film is an appreciated one for its throwback feel. And it might just hit the mark if you’re craving a cinematic apple and arrow experience.

William Tell had its World Premiere at the Toronto International Film Festival.