by Vincent Hooper and Susan Adalla
Hollywood has always loved a good underdog rebellion story, and with William Tell, director Nick Hamm delivers a visually stunning historical epic centred on one of Switzerland’s most enduring legends. With Claes Bang as the brooding revolutionary and Connor Swindells as the sadistic Viceroy Gessler, the film packs plenty of spectacle — but does it truly breathe new life into the tale, or is it just another arrow fired into the crowded battlefield of historical dramas?
The Good: A Feast for the Eyes (and the Ears?)
One undeniable strength of William Tell is its breathtaking cinematography. The Swiss Alps are practically a character in themselves, with vast, sweeping shots that bring out the grandeur of the setting. If nothing else, the film makes a strong case for Switzerland’s tourism board.
The action sequences are equally impressive — well-choreographed, brutal, and kinetic, striking a balance between realism and cinematic flair. The titular hero’s legendary marksmanship is given thrilling moments, with bows twanging and arrows slicing through the air in slow motion.
The score, though not quite in the league of Gladiator or Braveheart, does its job in amplifying tension and emotional weight. At times, it leans heavily on orchestral swells to force grandeur where the script falls short, but it’s effective nonetheless.
And speaking of effectiveness — Connor Swindells’ performance as Gessler is a highlight. He delivers his lines with a blend of arrogance and cruelty that makes you root for his downfall. Claes Bang’s William Tell is more understated but still compelling; his arc from reluctant warrior to fiery revolutionary is well-paced, even if it feels like it follows a well-worn template.
The Bad: When Dialogue Misses the Mark
While William Tell aims for a grand, Shakespearean tone, the dialogue often falls flat. Some lines feel like they were pulled from a first-year theatre student’s attempt at medieval prose. The result? Exchanges that occasionally sound forced, unnatural, and distractingly artificial.
Additionally, while the main actors do their best, the supporting cast doesn’t always get enough room to shine. Golshifteh Farahani, Rafe Spall, and Ellie Bamber are talented performers, but their roles feel underwritten — especially Farahani, who is relegated to the kind of “strong but sidelined” female character that historical epics often mishandle.
The Questionable: History vs. Hollywood
While no one expects a Hollywood epic to be a history lesson, William Tell plays fast and loose with historical accuracy. The real story is steeped in Swiss national pride, but the film injects familiar Hollywood-style rebellion beats, making it feel at times like Braveheart Lite.
The film’s pacing is also hit-or-miss. The opening act sets up the conflict well, but the middle stretches drag in places, weighed down by repetitive rallying speeches and drawn-out political manoeuvring. At times, it feels like the film is straining for significance instead of letting the story flow naturally.
The Apple Scene: A Moment of Redemption?
At the heart of William Tell’s legend is the iconic apple shot, where he is forced to shoot an arrow off his son’s head. This moment had to deliver — and, to the film’s credit, it does. The tension is palpable, the cinematography sharp, and Bang’s performance in this scene alone is arguably his best in the entire movie. If only the rest of the film had carried the same weight and urgency.
Final Verdict: A Strong Aim, but Not a Perfect Shot
If you love historical epics with sweeping landscapes, intense action, and a good old-fashioned tale of rebellion, William Tell is worth the watch. But if you’re looking for something that reinvents the genre or delivers a deeply nuanced character study, you may find yourself longing for a sharper script and a fresher take on the legend.
William Tell is in cinemas from 20 February 2025, and available to rent or buy on Digital Platforms from 10 March 2025
