THE STORY – Years after witnessing the death of Maximus at the hands of his uncle, Lucius must enter the Colosseum after the powerful emperors of Rome conquer his home. With rage in his heart and the future of the empire at stake, he looks to the past to find the strength and honor needed to return the glory of Rome to its people.
THE CAST – Paul Mescal, Pedro Pascal, Denzel Washington, Connie Nielsen, Joseph Quinn & Fred Hechinger
THE TEAM – Ridley Scott (Director) & David Scarpa (Writer)
THE RUNNING TIME – 148 minutes
Everyone who has taken part in the roller coaster which is Ridley Scott’s filmography, knows the significance of the original “Gladiator.” The film became a massive success, eventually winning Best Picture at the Academy Awards and launching Russell Crowe’s career into the stratosphere. Since its release 24 years ago, time has undoubtedly been favorable to “Gladiator,” as you can ask any dad around the world to quote it, and they’d start riffing off Crowe’s iconic monologue. So, why dabble with the legacy of such a film that is echoed throughout (cinema) eternity? The recent stretch of Scott’s career has been interesting, to say the least, but at 86 years old, he shows no signs of slowing down. Now, he aims to make his most ambitious film in years with “Gladiator II,” and, for the most part, it delivers on what he wishes to achieve.
“Gladiator II” takes place 16 years after the passing of Crowe’s Maximus Decimus Meridius. Twin Emperors Geta and Carcella (Joseph Quinn and Fred Hechinger) have let Rome devolve into a political and social hellscape. As their empire continues to expand far beyond the reaches of Europe, young farmer Lucius (Paul Mescal) is in Numida, living a peaceful life alongside his wife. Despite his attempts to avoid conflict, Lucious is ultimately dragged back not only into a place he wishes to forget but also as a slave fighting for his life under the control of the ambitious ring leader Macrinus (Denzel Washington). Fueled by an unquenchable rage, Lucius sets his sights on General Marcus Acacius (Pedro Pascal) and the ever-growing tumor that is the Roman Empire. Scott smartly keeps the same framework of the original “Gladiator” within the sequel. On the surface, you know the story: a soldier-turned-slave fights through his grief and anger inside the Colosseum to upheave the forces that took everything away from him. Scott strays from the original “Gladiator” in all the right places as he brings the spectacle that audiences pay to see, but he also attempts to display a story far less singular in its narrative. Within a shorter amount of time than the first, a myriad of characters are introduced in the story, all having various ambitions that consistently conflict with one another. Large portions of “Gladiator II” see these characters engaged in various forms of Roman political intrigue, attempting to find ways to manipulate others or craft plans to usurp those in power.
That being said, “Gladiator II” doesn’t hold back in terms of its massive set pieces; Scott brings the goods, as he always does. In the first moments of “Gladiator II,” audiences are thrust into a full-scale invasion sequence involving large naval vessels under siege by catapults and vicious sword-play. Every moment in the Colosseum is as grand as the trailers have led you to believe, whether it’s filled with shark-infested waters or rhinos impaling gladiators. For a film that cost upwards of $300 million, “Gladiator II” looks like every penny was put on the screen. From the decadent costume design by Janty Yates and David Crossman to Arthur Max essentially recreating the Colosseum, Scott can always elicit the best work from the artisans he surrounds himself with. Also, the ensemble Scott brings together for this sequel is far more well-rounded than you’d expect from merely seeing the A-listers on the call sheet. However, it begins with the titular gladiator, and finding the right actor to fill Crowe’s shoes feels like an impossible task. That’s where Academy Award-nominated actor and heartthrob Mescal comes into the equation. Primarily known for his work in projects like “Normal People” and “Aftersun,” here Mescal is straying away from his indie sensibilities and steps one foot closer to movie star status by inhabiting a physically demanding performance for “Gladiator II.” Not only does he find the right balance of his skill set as a performer, but this might also be the start of a new partnership between him and Scott.
What helps Mescal is that Lucius’s character isn’t a watered-down clone of Maximus. While there are, of course, going to be similarities to Maximus, Lucius is very much not the man his father was in terms of his personality or as a gladiator. While Maximus is a calculated and determined fighter, Lucius is simply a brute. Whether he’s chewing off bits of baboons or speed-blitzing opponents in the ring, there’s a ferocity that Mescal fully embodies. It’s reminiscent of the work Alexander Skarsgard physically conveyed with his character in “The Northman,” albeit not as extreme. Mescal uses his years of physicality as an athlete and bears it all with every punch thrown and taken. Yet, Lucius’s physical nature isn’t the only thing Mescal nails down. He still delivers on what we know to love in terms of the tears and downright dejected expressions that an actor like Mescal can only emote. Every time you see Mescal interact with other cast members and he whips out that snarky laugh, you can’t help but see this man is indeed left with nothing but vengeance in his heart. Everyone else in the ensemble turns in good work. Still, the only person who rises far above the material given to them is “shockingly” none other than the one and only Denzel Washington. Why would we be surprised that Washington turns in yet another outstanding performance?
That being said, Washington’s work in “Gladiator II” looks like this is the most fun he has had on a film set in years. Every moment he is on screen, he chews up the scenery. The film, at times, becomes Macrinus’s film, which is a testament to the power of the screen presence Washington will forever have, as here he’s showered in extravagant costumes and jewelry. Every glance he makes at others, mentally calculating his next move, is as entertaining as watching Mescal fight for his life in the Colosseum. The dynamic between Macrinus and Lucius is also quite fascinating, building up some of the more engaging relationships in “Gladiator II.”
Some of the weakest aspects of “Gladiator II” arise from David Scarpa’s screenplay. As mentioned earlier, there are character relationships – mainly between Lucius, Acacius, and Lucilla (Connie Nielson) – that are quite intriguing, especially with how they play into “Gladiator II’s” themes of perspective and forgiveness. Still, it takes quite a while to develop, as the script has much more on its mind than the original film. There’s a slight disjointedness, as the film’s first half is spent setting up many characters (and their motivations) in a short amount of time. While for some, it’ll be enjoyable to see how the table is being set; others won’t have enough patience to care where the cards will be placed on the table, questioning if the payoff was even worth it. Once the story becomes more narratively streamlined, it has a much better flow. There’s also a semi-retconning of the history of certain characters’ relationships engineered purely to establish far more connective tissues to the original “Gladiator.” It may not bother you, as specific machinations aren’t worth getting rilled up for, but some will find it distracting, along with exploring the meaning of certain quotes from the first film.
It’s also a slight disappointment that Henry Gregson-Williams’ score doesn’t come close to filling in the gap that Hans Zimmer’s iconic version left. Gregson-Williams’ score is acceptable, but it functions mainly as solid background music while audiences watch whatever transpires on screen. Of course, it’s at its best whenever Gregson-Williams implements some of the motifs of Zimmer’s work from the original “Gladiator” (especially towards the film’s back half).
Maintaining this quality level for a sequel arriving 24 years after its predecessor is more challenging than it seems. Although “Gladiator” isn’t flawless, time has been a great ally to the film and its legacy. There’s a sense that Scott knows this, too, as he is in a phase of his career where he’s making a new film left and right. The concept of legacy might not be prevalent in his mind, but it sure is in “Gladiator II,” whether it’s Mescal attempting to step aside from the shadow that Crowe established or Lucius accepting what it means to be a part of his father’s legacy for better and for worse. You can either choose to honor one’s legacy or chart a separate path. In typical Scott fashion with “Gladiator II,” he says, why not a little of both?
