By Robert Yaniz Jr.

David Mackenzie reteams with Chris Pine for a Netflix-exclusive medieval epic.

From piloting the USS Enterprise to fighting alongside Diana of Themyscira, Chris Pine has often found himself hurtling into big-screen battle. Yet, audiences have still never seen him like this. And, no, we’re not referring to the overblown nudity in his latest film.

In Outlaw King (now streaming on Netflix), Pine stars as Robert the Bruce, a noblemen who quickly emerges as the King of Scots. As such, he’s tasked with leading a rebellion against English ruler Edward I (Stephen Dillane) and his petulant prince (Billy Howle). Many battle scenes ensue, as Robert and his men — including James Douglas (Aaron Taylor Johnson) endeavor to reclaim the land seized by King Edward.

To say that Outlaw King is in part aping Braveheart (a comparison many critics have already made) is a bit short-sighted. Of course, the events of the film somewhat overlap — William Wallace, portrayed by Mel Gibson in that 1995 Oscar-winning Best Picture, is mentioned to establish how Robert’s tale fits within context — but what co-writer/director David Mackenzie has created feels more visceral and less of a Hollywood spectacle piece than many fans may expect. Then again, that should hardly come as a surprise, given Mackenzie’s understated work on Hell or High Water (also co-starring Pine) two years ago.

Moreover, Mackenzie’s eye for capturing the distinctive environment of each of his stories is in full display here. The production design, costuming and photography all realistically reenact the medieval 1300s, making it easier to slip effortlessly into the freedom fight already in progress. Even Pine’s spot-on performance — burdened but resolute (and with a solid Scottish accent, to boot) — keeps Outlaw King from teetering into the glossy terrain of Hollywood historical epics.

That being said, the narrative at the center of Outlaw King still feels more sprawling meandering than intended. Mackenzie subsequently cut roughly 20 minutes from the film since its premiere at the Toronto International Film Festival. The final product feels oddly caught in a wasteland between a brisk, focused war story and the more ambitious portrait Mackenzie seems dedicated to. In truth, the production value and the performances by both Pine and his onscreen wife Florence Pugh (Lady Macbeth) make Outlaw King easy to recommend, especially to history buffs and those with a soft spot for these kinds of stories.

Neither objectionable nor outstanding, Outlaw King feels destined to find its home on Netflix. The film may not reinvent its genre or stray perilously far from cliche, but it knows precisely what kind of story it’s telling and a serviceable way to do so. Even if you’re only curious about this one because of the infamous Pine full-frontal shot (which is of the blink-and-you’ll-miss-it variety anyway), chances are you’ll be glad you stayed to watch what ultimately amounts to a decent action-drama and another intriguing addition to Pine’s diverse filmography.

Outlaw King stars Chris Pine, Aaron Taylor Johnson, Florence Pugh, Billy Howle, Tony Curran and Stephen Dillane and is directed by David Mackenzie.