Like most people, I love a good historical movie, especially when it’s set in the Middle Ages. Many older movies, although lacking the technology we have now, tended to be more historically accurate. So I thought it would be interesting to see if I could find some modern movies that didn’t play too fast and lose with the truth.
These 15 films span from the Crusades to the Wars of Scottish Independence. Some are Hollywood epics with massive budgets, while others are smaller productions that focus on the human cost of medieval warfare.
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What they all have in common is a commitment to showing medieval society as it actually was, brutal and complex, without sanitizing it into a fairytale. Although some do take a few liberties with history, many are based on court records and archaeological evidence.
15 Medieval Movies to Watch if You Love History
You’ll find films here that depict the political machinations of feudal lords, the limited options available to medieval women, the reality of siege warfare, and the religious worldview that shaped every decision people made.
Kingdom of Heaven (2005)
Set during the Crusades in the late 12th century, Kingdom of Heaven follows Balian of Ibelin, a French blacksmith played by Orlando Bloom, who travels to Jerusalem after his wife’s suicide. There, he discovers his father is Baron Godfrey, played by Liam Neeson, a crusader knight.
After Godfrey’s death, Balian inherits his title and becomes the defender of Jerusalem against Saladin’s army of 200,000. The film also stars Eva Green, Jeremy Irons, David Thewlis, Brendan Gleeson, and Edward Norton as the leprous King Baldwin IV.
Director Ridley Scott’s theatrical cut received mixed reviews, but the director’s cut is widely considered far superior. The film takes a balanced approach to the Crusades, presenting Christians and Muslims as complex individuals with varied motivations rather than simplistic heroes and villains.
While it takes liberties with history, particularly with Balian’s character (the real Balian was born in Jerusalem and was already an established nobleman), the siege warfare and political dynamics of the Kingdom of Jerusalem are reasonably well depicted. The film’s production design and battle choreography were praised for their scale and attention to period detail.
Arn: The Knight Templar (2007)
Set in 12th-century Sweden and the Holy Land, this Swedish film follows Arn Magnusson, played by Joakim Natterqvist, a nobleman’s son who falls in love with Cecilia (Sofia Helin). When their forbidden relationship is discovered, Arn is sentenced to serve 20 years as a Knight Templar in the Crusades, while Cecilia is sent to a convent.
The film spans decades, showing Arn’s rise through the Templar ranks and his eventual friendship with Saladin, while Cecilia suffers in her abbey. Stellan Skarsgård also stars as Arn’s father.
This was the most expensive Swedish film production ever made, originally released in Sweden as two separate films before being edited into one for international release. The film shows both sides of the Crusades without turning either Christians or Muslims into villains, and it gives equal weight to the political intrigue in Sweden as to the battles in the Holy Land.
While the love story drives the plot, the depiction of medieval Scandinavian politics and the Knights Templar’s role in defending pilgrim routes is handled with more nuance than most Crusade films. The costumes and weaponry are period-appropriate, and dialogue is delivered in multiple languages, including Swedish, English, French, Arabic, and Latin.
Mongol: The Rise of Genghis Khan (2007)
Set in Mongolia from 1172 to 1206, Mongol follows the early life of Temüjin (Tadanobu Asano), who would become Genghis Khan. The film opens with nine-year-old Temüjin choosing Börte (Khulan Chuluun) as his future wife, then follows him through his father’s murder, enslavement, repeated captures and escapes, and his relationship with his blood brother Jamukha (Sun Honglei), who eventually becomes his chief rival. The film depicts Temüjin’s struggle to unite the warring Mongol tribes and his devotion to Börte, who rescues him from imprisonment multiple times.
This Russian production was directed by Sergei Bodrov and filmed in Kazakhstan and Inner Mongolia after local Mongolian protests forced the shooting to relocate. The film was nominated for the 2007 Academy Award for Best Foreign Language Film. It was based on The Secret History of the Mongols, a 13th-century Mongolian text written shortly after Genghis Khan’s death.
The film deliberately humanizes Temüjin rather than portraying him as a bloodthirsty conqueror, presenting him as a visionary leader who believed in uniting the Mongol tribes through shared language and culture.
While the film takes historical liberties (Temüjin is captured three times in the film but only once in recorded history, and Börte’s rescue from a Tangut prison is entirely fictional), the basic facts, timeline, and cultural depictions are reasonably accurate.
The cinematography showcasing the Mongolian steppes received wide praise, though critics noted the film sometimes felt rushed, trying to cover 34 years in two hours. This was intended as the first part of a trilogy, but subsequent films were never completed.
Pope Joan (2009)
Set in 9th-century Europe after the death of Charlemagne, Pope Joan follows Johanna von Ingelheim (Johanna Wokalek), a young woman born in Ingelheim, Germany, to an English village priest (Iain Glen) and his Saxon wife. Despite her father’s violent opposition to educating girls, Johanna excels at languages and biblical studies.
After disguising herself as a man named Brother John, she travels to Rome, where her medical knowledge and intelligence earn her a position as physician to Pope Sergius II (John Goodman). When Sergius dies, Johanna is elected pope by the people of Rome. David Wenham plays Gerold, her lover, and the film also features Edward Petherbridge and Anatole Taubman.
This German production, directed by Sönke Wortmann, was based on Donna Woolfolk Cross’s bestselling novel. The film was controversial upon release, with the Vatican and Italian bishops criticizing it heavily. The story of Pope Joan is a medieval legend that first appeared in 13th-century chronicles, and most modern historians dismiss it as completely fictional.
There is no contemporary historical evidence for Pope Joan’s existence, and her supposed reign between 855 and 858 overlaps with the well-documented pontificates of Leo IV and Benedict III. The film received mixed reviews, with praise for the production design and costumes (which earned German Film Award nominations) and criticism for melodramatic dialogue and historical liberties.
While the legend itself is fiction, the film does accurately depict the brutality of medieval life, the limitations placed on women, and the corruption within the Church during the 9th century.
Robin Hood (2010)
Set in 1199 during the final years of King Richard the Lionheart’s reign and the beginning of King John’s rule, Robin Hood follows Robin Longstride (Russell Crowe), an archer in Richard’s army returning from the Crusades. After witnessing Richard’s death during a siege in France, Robin returns to England and assumes the identity of the slain Sir Robert Loxley to bring news to the nobleman’s widow, Marion (Cate Blanchett), and father, Sir Walter (Max von Sydow), in Nottingham.
As the new King John (Oscar Isaac) increases taxes and faces rebellion from northern barons, Robin discovers his father’s connection to an early version of the Magna Carta. The film also features Mark Strong as the villainous Sir Godfrey, William Hurt as William Marshal, and Eileen Atkins as Eleanor of Aquitaine.
Directed by Ridley Scott and reportedly budgeted at $200 million, the film received mixed reviews, earning a 43% rating on Rotten Tomatoes. Critics praised the production design and some battle sequences but criticized the joyless tone and historical liberties. The film attempts to ground the Robin Hood legend in historical reality by incorporating real figures such as King Richard, King John, and Eleanor of Aquitaine, and it includes references to the Magna Carta.
However, historians noted major problems, including a completely fictional French invasion at Dover, King Richard being in the wrong place at the wrong time (he left Jerusalem seven years before 1199), and the use of amphibious landing craft that wouldn’t exist for another 700 years.
The film’s handling of medieval life and costume design received some praise for accuracy, but Russell Crowe’s notoriously inconsistent accent (shifting between English, Irish, and Scottish) became a significant distraction.
Ironclad (2011)
Set in 1215 during the First Barons’ War in England, Ironclad depicts the siege of Rochester Castle immediately after King John signed the Magna Carta. Paul Giamatti plays John as unstable and vicious, refusing to honor the charter he signed. James Purefoy stars as a fictional Templar knight leading a small garrison of men defending the castle against John’s massive army. The cast also includes Derek Jacobi, Charles Dance, and Kate Mara.
The film takes historical liberties, particularly with the Templar knight character, who didn’t exist, but the core events of the siege actually happened. The depiction of medieval siege warfare is brutal and probably more realistic than most films, showing mining operations, starvation, disease, and the absolute hell of defending a castle against overwhelming odds.
The film doesn’t shy away from graphic violence, with limbs being severed and men dying in agony. While the timeline is somewhat compressed and some details are changed for dramatic effect, the strategic importance of castles in medieval England and the difficulty of taking them by force are accurately portrayed.
Outlaw King (2018)
Set in Scotland from 1304 to 1307, Outlaw King follows Robert the Bruce, played by Chris Pine, during the years immediately after William Wallace’s execution. The film opens with Robert and other Scottish nobles submitting to Edward I of England at Stirling Castle.
After Robert murders his rival John Comyn and declares himself King of Scots, Edward’s son (Billy Howle) leads an army to crush the rebellion. Florence Pugh plays Robert’s wife, Elizabeth, and Aaron Taylor-Johnson plays James Douglas.
The film was praised for its historical accuracy regarding costumes, weapons, and armor. There are no kilts (which didn’t exist yet), and soldiers wear period-appropriate chain mail and gambesons. The film includes Edward I’s War Wolf trebuchet, which he actually used at Stirling.
The battle scenes emphasize the mud, exhaustion, and chaos of medieval combat, and the depiction of schiltron formations and guerrilla tactics is well-researched. The main criticism was that three years of warfare were compressed into two hours, sacrificing character development for battle sequences. The film was shot on location at actual Scottish castles.
Mary Queen of Scots (2018)
Set in 16th-century Scotland and England from 1561 to 1587, Mary Queen of Scots follows Mary Stuart (Saoirse Ronan) as she returns to Scotland from France after her husband, King Francis II, dies. She claims her rightful throne as Queen of Scotland but faces conflict with her cousin Queen Elizabeth I (Margot Robbie), who rules England and sees Mary as a threat.
The film depicts the rivalry between the two queens, Mary’s marriages to Lord Darnley (Jack Lowden) and the Earl of Bothwell (Martin Compston), and the political conspiracies that eventually led to Mary’s imprisonment and execution. Guy Pearce plays William Cecil, David Tennant plays John Knox, and Joe Alwyn plays Robert Dudley.
The film was directed by Josie Rourke and received mixed reviews, with praise for the performances, particularly from Ronan and Robbie, but criticism for historical inaccuracies. The movie takes significant dramatic license, including depicting a face-to-face meeting between Mary and Elizabeth that never actually happened.
The film also features diverse casting that sparked controversy. While the costumes earned Oscar and BAFTA nominations, historians noted numerous departures from the historical record regarding the timeline of events, character motivations, and the nature of the conflict between the two queens. The film focuses more on exploring themes of female power and gender politics through a modern lens than on strict historical accuracy.
The King (2019)
Set in early 15th-century England, The King follows Henry V (Timothée Chalamet) as he navigates the aftermath of his father’s death and leads England into the Hundred Years’ War. The film covers the lead-up to the Battle of Agincourt in 1415, where Henry’s outnumbered English army faced the French.
Joel Edgerton plays Falstaff (a composite character based on several historical figures), Robert Pattinson plays the Dauphin of France, and Lily-Rose Depp plays Catherine of Valois.
The film simplifies medieval politics considerably and takes significant liberties with the historical record, particularly in portraying Henry as reluctant to go to war. However, the Battle of Agincourt sequence is one of the best medieval combat scenes in recent cinema, showing the mud, chaos, and exhaustion of the battle.
The effectiveness of English longbows is demonstrated, and the hand-to-hand combat is brutal and messy rather than choreographed. The costumes and armor are reasonably accurate for the early 15th century, though some historians noted anachronisms in the armor design.
Robert the Bruce (2019)
Set in 1314 after the Battle of Bannockburn, Robert the Bruce continues the story from Braveheart with Angus Macfadyen reprising his role as Bruce. The film shows Bruce sick, possibly with leprosy, and hiding in the Scottish countryside with a small group of followers. He’s sheltered by a widow named Morag (Anna Hutchison) and her children while English forces hunt for him. The film focuses on Bruce’s relationship with the family and his struggle to survive.
This is a smaller film than most medieval epics, focusing on the human cost of decades of warfare rather than grand battles. The violence is quick and brutal when it occurs. The depiction of medieval Scottish peasant life feels authentic, showing ordinary people trying to survive in a war-torn landscape.
While the film doesn’t have the budget for massive production values, it uses that limitation effectively to tell a more intimate story. The historical details regarding Bruce’s health issues and the aftermath of Bannockburn are loosely based on historical records, though the specific story of the widow and her family is fictional.
The Last Duel (2021)
Set in 14th-century France in 1386, The Last Duel tells the true story of the last officially sanctioned judicial duel in French history. Matt Damon plays Jean de Carrouges, a knight who accuses Jacques Le Gris (Adam Driver) of raping his wife, Marguerite (Jodie Comer). When the courts cannot decide the case, Carrouges challenges Le Gris to trial by combat. Ben Affleck plays Count Pierre d’Alençon, Le Gris’s patron. The film tells the story three times from three different perspectives.
The film is based on Eric Jager’s book and actual court records from 1386. The costumes are meticulously accurate for 14th-century France, and the film shows medieval attitudes toward women with brutal honesty. If Carrouges lost the duel, Marguerite would have been burned at the stake for lying.
The trial by combat choreography follows historical accounts of what actually happened. The film depicts courtly love culture, feudal politics, and the complete lack of legal options for women in medieval society. While the film takes some dramatic liberties, historians praised its commitment to showing how medieval justice actually worked.
The Green Knight (2021)
Set in an Arthurian fantasy version of medieval England, The Green Knight is based on the 14th-century poem Sir Gawain and the Green Knight. Dev Patel plays Gawain, King Arthur’s nephew, who accepts a challenge from the mysterious Green Knight (Ralph Ineson) on Christmas Day. Gawain must travel to the Green Chapel one year later to receive a blow from the Green Knight. Alicia Vikander plays two roles, and Sean Harris appears as King Arthur.
Director David Lowery’s adaptation takes significant liberties with the source material but captures the strangeness of medieval thinking. The supernatural elements aren’t treated as fantasy but as the reality of how medieval people understood the world. The film moves slowly and deliberately, emphasizing themes of honor, mortality, and destiny that were central to medieval literature.
While it’s not historically accurate in a conventional sense, the film’s commitment to showing an alien worldview that’s fundamentally different from modern thinking makes it valuable for understanding medieval mentality. The production design draws from medieval art and illuminated manuscripts.
The Northman (2022)
Set in 10th-century Iceland and based on the Scandinavian legend that inspired Hamlet, The Northman follows Prince Amleth (Alexander Skarsgård) as he seeks revenge for his murdered father. As a child, Amleth witnesses his uncle Fjölnir (Claes Bang) kill his father and marry his mother, Queen Gudrún (Nicole Kidman).
Amleth escapes and grows up as a Viking berserker before returning to Iceland as a slave on his uncle’s farm to exact revenge. Anya Taylor-Joy plays Olga, a Slavic woman enslaved alongside Amleth.
Director Robert Eggers worked with archaeologists and historians to achieve extraordinary historical accuracy. The costumes, weapons, architecture, and rituals are based on archaeological evidence and saga texts. Vikings actually did carve grooves in their teeth and fill them with pigment.
The film takes the supernatural elements seriously because Vikings actually believed in magic, visions, and earning a place in Valhalla through violent death. The berserkers wear wolf pelts, the boats are museum-quality replicas, and fighting techniques come from the sagas.
The film was shot on location in Iceland. This commitment to showing Vikings as they actually were, including human sacrifice and blood feuds, makes it possibly the most historically accurate Viking film ever made.
Medieval (2022)
Set in 15th-century Bohemia before the Hussite Wars, Medieval tells the story of Jan Žižka (Ben Foster), a Czech warlord who never lost a battle. The film follows Žižka as he’s caught between powerful nobles and faces armies from the Teutonic Order and the Holy Roman Empire. Michael Caine plays Lord Boresh, Sophie Lowe plays Katherine, and Matthew Goode plays King Wenceslaus IV. At $20 million, this was the most expensive Czech film ever made.
The battle scenes are brutally realistic, showing medieval combat without Hollywood sanitization. Men die slowly from mace strikes, war hammers crush skulls, and the chaos of melee combat is front and center. The film covers the period leading up to the Hussite Wars, which featured innovative military tactics, including the use of war wagons.
Critics praised the production values and choreography but found the narrative confusing, as the film tries to cover considerable political intrigue in two hours. The costumes and weapons are period-appropriate for early 15th-century Central Europe, a region rarely depicted in medieval films.
Catherine Called Birdy (2022)
Set in 1290, Catherine Called Birdy follows 14-year-old Birdy (Bella Ramsey), the daughter of an impoverished lord who keeps trying to marry her off to wealthy suitors to solve his financial problems. Birdy resists each match while chronicling her life in a diary. Andrew Scott plays her father, Billie Piper plays her mother, and Joe Alwyn plays one of her suitors. The film is directed by Lena Dunham and is based on a young adult novel.
This isn’t an action film but a comedy about the complete lack of options medieval women had. The film shows medieval life from a female perspective, depicting the economics of marriage, the power fathers had over daughters, and how women navigated extremely limited circumstances.
While the tone is light and comedic, the underlying reality of women being treated as property is taken seriously. The costumes are reasonably accurate for the period, and the film avoids romanticizing medieval England. It’s a rare example of a medieval film that focuses on domestic life and social constraints rather than warfare and politics.
The Last Kingdom: Seven Kings Must Die (2023)
Set in 10th-century England during the final stages of Saxon unification, Seven Kings Must Die concludes the Last Kingdom series following Uhtred of Bebbanburg (Alexander Dreymon). After King Edward’s death, Uhtred must navigate the power struggle between Edward’s sons and various nobles while facing new threats from Vikings and Danes. The film explores who will unite England and the complex alliances among Saxons, Danes, and Vikings.
The film shows the political complexity of early medieval England without simplification. The warfare includes shield walls, ambushes, and sieges, depicted with attention to how these battles actually worked. The costumes and weapons are reasonably accurate for the 10th century period.
The film continues the series’ tradition of showing medieval politics as vicious and alliances as fragile, with violence as the primary tool for resolving disputes. While it’s based on Bernard Cornwell’s historical novels rather than being strictly historically accurate, it captures the brutal reality of the period when England was being forged from multiple kingdoms.
