Gladiator II

Gladiator II features some impressive action sequences. Every battle in the Colosseum is fantastic despite how historically inaccurate they may be. The monkey sequence showcases how skilled Hanno (Paul Mescal) is not only as a fighter but also in how he interacts with others. Then there's the rhino sequence that plays out much like Bugs Bunny’s interactions with Toro the Bull in the Chuck Jones-directed Looney Tunes short Bully for Bugs (1953). While those sequences are fairly believable, the shark sequence seems like pure fantasy and that’s why it’s so incredible. They fill the Colosseum with water and let sharks loose while the opposing gladiators try to survive the onslaught on boats. It’s also interesting to note that every major actor who dies in the film has a spectacular death. Not only that but these gruesome deaths get increasingly more grisly and memorable as the film progresses. These bloody triumphs rarely delve any deeper than someone getting shot with a bunch of arrows or a beheading or appendage severing of some kind. This level of brutality escalates throughout the film and eventually culminates with the most satisfying kill that takes two and a half hours to achieve. The performances fluctuate between being top-tier perfection and mediocre overacting. Denzel Washington is having the time of his life as Macrinus. He has the most interesting storyline and Denzel dances in every scene with a giddiness that is unparalleled. Joseph Quinn seems to be acting in an entirely different film than everyone else as Emperor Geta. His mannerisms are operatic and theatrical with his wide eyes that rarely blink, grand body language and hand gestures, and explosive line delivery. Pedro Pascal doesn’t do anything in Gladiator II as Marcus Acacius that he didn’t do in Game of Thrones apart from having more screen time. Much like how his character is written, Paul Mescal’s performance is muddled. The Hanno character and who he is is a poorly kept secret that consistently pulls the character in several directions. Hanno is vengeful at first before succumbing to being the hero of the film and the evolution isn’t earned. The writing and pacing of Gladiator II feel like the film drops Hanno’s fate in his lap halfway through, which he’s either forgotten about over two decades or never knew until the audience did. Connie Nielsen, one of the few returning actors from the original film, is awful in this. Her acting in Gladiator II always comes off as forced as her crying scenes are often portrayed as constipated grunts with crocodile tears. Her dialogue delivery is also strained and broken despite being given some of the most important sequences of character connections and reawakenings of sorts in the sequel. Calling Gladiator II action-heavy is misleading because the film drags between every fight sequence. The film is largely dull and difficult to indulge during its quieter moments. The film is gorgeous with its incredible set pieces, intricate costume design, and impressive use of infinitely numerous extras. Director Ridley Scott reunites with all of the set decorators (Sonja Klaus, Crispian Sallis, and Emilio Ardura) and costume designer (Janty Yates) that he worked with on Gladiator in 2000. From a visual standpoint, Ridley Scott's films are highly detailed masterpieces. Denzel Washington’s extravagant performance makes Gladiator II worthwhile. Still, not even its excessively violent action sequences, beautiful cinematography, and masterful set and costume design can save the sequel from how boring it is. Ridley Scott waited over twenty years to make a sequel that is more than twice as expensive as the original only to rehash the same story points.

Sixteen years after "Maximus" (Russell Crowe) bit the dust, we find ancient Rome under the control of twins "Geta" (Joseph Quinn) and his brother "Caracalla" (Fred Hechinger) and thanks to their general "Acacias" (Pedro Pascal) continuing to expand their empire. It's this latter man who leads an attack on the home "Nanno" (Paul Mescal) shares with his wife "Arishat" (Yuval Gonen). That doesn't go so well and next thing, she's gone on ahead of him to the wheat fields and he's now a slave owned by the manipulative "Macrinus" (Denzel Washington) heading to the Colosseum to entertain the emperors and their cousin "Lucilla" (Connie Nielsen). What now ensues is a well produced and good looking rehash of the first film paying homage en route to "Spartacus" and it's the sheer predicability that I struggled with. It's episodically delivered with far too much script and though Mescal tries hard, his performance is largely charm-free and as wooden as a rudius, especially once the rather far-fetched familial back-story has been established. Sir Derek Jacobi sparingly appears as the other survivor from 2000 reprising his role as the senator "Gracchus" but to no real effect and the scene stealer for me is really only the megalomanic Quinn's imperial offering as he and his bonkers sibling teeter on the brink of inbred, sexually fluid, madness. Washington does well enough as the scheming slave-master, but he hasn't really enough to work with to stand out amongst what really are a mediocre collection of undercooked characters that just don't deliver any real sense of the hedonism and menace of this debauched and corrupt state. As with Sir Ridley Scott's "Kingdom of Heaven" (2005) the battle scenes are superb and action packed, as are the combat scenes in the vast marble auditorium filled with baying plebs and rhinos, but I am afraid that the shallow characterisations just didn't work well enough to keep this engaging and the plot was just too thin to stretch over a couple of hours that could have been so very much better. It really does need a big screen to appreciate the creatively crafted visuals, but I was still pretty disappointed, sorry.

When Ridley Scott decided to revisit Gladiator, it sounded like an opportunity to expand on one of the greatest historical epics. Instead, we got a rehash that feels more like a missed opportunity than a bold sequel. The first act rushes through familiar territory. A general, born out of combat, loses his family and ends up as a slave. Sound familiar? It’s the same setup as Maximus’s story, minus the emotional weight. And sending Lucilla’s son away to protect him? That’s not just a weak plot point, it spits on everything Maximus and Marcus died for. The second act brings nothing new to the table. The “twist” is predictable, the plot messy, and the villains uninspired. Commodus worked because he was layered, a mix of insecurity and cruelty. Here, the two emperors are generic placeholders. Even the attempted coup feels like déjà vu, with none of the intensity or buildup that made the first movie iconic. The third act delivers a visually stunning battle but lacks substance. The final showdown offers nothing fresh, and the death of the antagonist in front of everyone feels like it’s trying to copy the original. The speech about “Maximus and Marcus’s dream”? We’ve heard it before, and it meant more the first time. What was the point of that last scene? There were so many ways to end this movie with a high note, something meaningful to honor Lucilla or Acacius. Instead, we get a hollow, pointless ending that adds nothing to the story. Credit where it’s due: the cinematography, CGI, and score are outstanding. Visually, the movie is a masterpiece, with breathtaking scenery and polished editing. The music, while clearly inspired by the original, carries the mood well. But great visuals can’t save a story that refuses to move forward. Gladiator 2 had potential, but it’s stuck trying to recreate past glory instead of delivering something new. It’s visually impressive but ultimately hollow.