Don’t assume that everything done wrong will have consequences, Montrose. Rob Roy comes from director Michael Caton-Jones and writer Alan Sharp. The film features Liam Neeson, Jessica Lange, John Hurt, Tim Roth, Eric Stoltz, Andrew Keir, and Brian Cox. Carter Burwell composed the music, and Karl Walter Lindenlaub was responsible for the cinematography. Neeson portrays Rob Roy MacGregor, an 18th-century Scottish historical figure who borrows £1,000 from the Marquis of Montrose (Hurt) with the intention of improving his clan's standard of living. However, the money is stolen while being transported by the villainous Archibald Cunnigham (Roth), leaving Roy unable to repay the debt and forcing him into a life as an outlaw. That’s how legends begin. Filmed on location in various areas of the Scottish Highlands, Rob Roy was somewhat overshadowed by Mel Gibson's Braveheart. It’s unfortunate because while not quite as grand or exhilarating as Gibson’s award-winning film, Caton-Jones created a different kind of historical movie—one that is more thoughtful and introspective. The film explores virtues; it really celebrates them. Qualities like honesty, honor, loyalty, faithfulness, and love are beautifully set against the stunning landscapes, all supported by Sharp's well-crafted script. But there’s plenty of exciting action too, and Rob Roy delivers on that front as well. A standout moment is a climactic sword fight—no gimmicks or unbelievable heroics, just a skillfully filmed sequence with exceptional choreography from William Hobbs and Robert G. Goodwin. Carter Burwell's score complements the visuals nicely, although some of the Gaelic music sounds more Irish than Scottish. The acting is solid all around. Neeson looks right as the strong Roy; he doesn’t need to be dashing because the character requires mental and physical strength, along with emotional resilience regarding his family, which Neeson portrays effortlessly. Lange, an interesting choice for the role of his wife, appears without heavy makeup but still exudes natural appeal, giving Mary MacGregor a sense of believable strength. However, it's undeniably Tim Roth’s film; he is both a delicate dandy and a calculating scoundrel, and his villainous performance as Archibald Cunningham has to be seen to be believed. He deservedly received an Academy Award nomination for his work. Cox and Hurt are reliably excellent professionals, as is Stoltz. The accents occasionally falter—what else is new? And if I’m being picky, the film sometimes feels inaccurate in its depiction of the period. These are minor issues though, considering it's otherwise a clever and lovely departure from the typical swashbuckling formula. 8/10

Source on TMDB