12 Nov REVIEW – ‘Gladiator II’ is an old-school epic that reminds us of why we love going to the cinema

Way back in the year 2000, Ridley Scott’s Gladiator redefined historical epics, bringing a raw intensity that reinvigorated the genre and waltzed away with five Oscars including Best Picture. Since that time, the idea of a sequel has been kicking around including one bizarre script written by Nick Cave of all people involving Maximus being resurrected from purgatory and tasked with killing Jesus to end Christianity. Yes, you read that correctly.

Two decades later, Scott is finally back with a tremendously entertaining sequel that valiantly and mostly successfully recaptures the spirit of its predecessor while grappling with a history that’s as iconic as it is daunting. For all its giddy fun, wild thrills, and bone-crunching action, Gladiator II often wields its sword with both hands, caught between honouring the past and breaking new ground.

Set 16 years after the events of the previous film, Gladiator II centres on the stoic Lucius Verus (Paul Mescal), the former heir to the Roman Empire who has seemingly turned his back on Rome and his mother, Lucilla (Connie Nielsen). Instead, Lucius lives in the African coastal town of Numidia, the last free city of Africa not under Roman control. When Numidia falls during a brutal invasion led by General Marcus Acacius (Pedro Pascal), Lucius is captured and forced into slavery.

Purchased by former-slave-turned-master-of-gladiators Macrinus (a scintillating Denzel Washington), Lucius is hurled into a stable of fellow slaves who may earn their freedom if they can survive the gladiatorial arena of the Colosseum. After the malevolent young emperors, Geta (Joseph Quinn) and Caracalla (Fred Hechinger) announce a tournament of games in honour of their African conquest, Lucius’ chance for liberation appears on the horizon.

With the emperors distracted by their lust for blood and violence, someone within Rome’s ranks sees this as the perfect time to enact a plot to overthrow their chaotic regime. As Lucius is drawn into the scheme to seize power back from the corruption plaguing Rome, he’s forced to choose between fighting for survival and for something his estranged mother has always believed in; that Rome can be the great empire it once was.

Mescal takes on the daunting, unenviable role of Lucius and attempting to fill the Oscar-winning shoes of Russell Crowe’s iconic turn. Though his performance has its moments of raw, emotional intensity, it often feels hampered by the script’s indecisiveness. While Mescal is more than capable of portraying the inner turmoil of a man conflicted by family history and political ambition, he occasionally feels sidelined by the film’s insistence on large, sweeping set pieces. Mescal’s performance sometimes loses momentum amidst the film’s focus on grandeur. Indeed, there are times when the character feels caught between fulfilling a personal vendetta and driving forward the narrative’s broader themes.

There’s an unrelenting passion in Mescal’s portrayal, yet his character isn’t quite given the space to emerge fully. In several quieter scenes, Lucius wrestles with his past, the huge shadow cast by Maximus, and his complicated relationship with Lucilla. It’s here Mescal absolutely shines. He is quieter and more contemplative than Maximus, but he brings a palpable vulnerability that draws viewers into his narrative thread. But just as we’re drawn into his journey, the film shifts gears, leaving his character arc feeling slightly fragmented. This isn’t to say Mescal doesn’t deliver. He does and he gives it his all. It’s simply that the film’s larger-than-life ambitions sometimes overshadow his quieter, more nuanced moments.

While Mescal may take a more pensive approach, Washington swings for the fences with one of the year’s most bombastic, devilish, and scenery-chewing performances that could (and, frankly, should) score the veteran actor his third Academy Award. Washington brings immense gravitas to his character that captivates with every quiet command and fiery stare. Playing a seasoned, scheming veteran who intimately understands both the beauty and brutality of Roman politics, Washington lends the film a much-needed weight. Washington’s charisma does wonders for Gladiator II, often grounding the film when it risks getting lost in its own spectacle.

Yet Washington’s performance isn’t merely about wielding gravitas; it’s a character study in resilience and moral compromise. While Lucius grapples with internal dilemmas, Washington’s character is already steeped in them. When the two share the screen, there’s an undeniable tension, a subtle give-and-take that elevates their scenes, making them feel like real stakes are at play. While Macrinus remains enigmatic and morally ambiguous, he also emerges as one of the film’s most memorable presences, a man who commands attention whether hiding in the shadows or right in the midst of the heat of political machinations. In a career of masterful performances, it’s up there with Washington’s best.

If there’s one area where Gladiator II undeniably excels, it’s in its action sequences. Scott’s prowess for choreographing intense, visceral battles remains unmatched, with scenes that feel chaotic yet meticulously crafted. The action is pulse-pounding with ferocious battle scenes packed with the kind of thrilling violence that defined Gladiator. The Colosseum sequences, in particular, are breathtaking. Scott pulls out all the stops here, offering a stunning spectacle that’s as fierce as it is mesmerising. We’re thrust into the dust and blood, surrounded by the roar of the crowd, and it’s a reminder of why Scott’s work in the original set the bar so high.

However, while the epic scale and visual grandeur are undeniably impressive, they sometimes verge on overindulgence. There’s a fine line between spectacle and excess, and Gladiator II occasionally tips into the latter, especially when you throw in a menagerie of animals into the battles like baboons, rhinos, and sharks. Yes, sharks. Where the original balanced large-scale battles with quieter, character-driven moments, the sequel occasionally leans too heavily into extravaganza, sacrificing narrative subtlety in the process. Still, there’s no denying this is a film designed to be seen on the biggest screen possible, with Scott offering up some of the most outrageously thrilling sequences seen on screen this year.

Scott’s Rome is a visually stunning recreation, crafting a world that’s as gritty as it is grand. The sweeping cinematography of John Mathieson captures both the vastness of the empire and the intimacy of Lucius’ journey, with scenes that feel like paintings come to life. Working with costume designer Janty Yates and production designer Arthur Max, Scott’s attention to detail with the imposing sets and stunning costumes brings an authenticity that ultimately grounds the film. There’s more of a reliance on CGI here than in the first film, but that’s merely more a product of the times we live in. Thankfully, the visual effects are mostly well-executed.

For all its grandeur, Scott and screenwriter David Scarpa are just as interested in exploring notions of legacy, identity, and power. Lucius is, after all, a character caught between two worlds – the tyranny of his uncle and the nobility of Maximus’ memory. The film delves into these themes with surprising depth, presenting Lucius as a man struggling to define his own path in a world determined to dictate it for him. This thematic richness deftly weaves moral dilemmas and political intrigue into the narrative.

However, Gladiator II doesn’t always manage to balance its thematic ambitions with its action-heavy approach. At times, the film’s philosophical undertones feel more like interruptions than integral parts of the story. While these themes add layers of complexity, they sometimes clash with the straightforward, adrenaline-driven nature of the action sequences, creating a tonal dissonance that’s hard to ignore.

When all is said and done, Gladiator II is a worthy successor to Scott’s original masterpiece, even if it occasionally stumbles under the weight of its own ambitions. It’s a film that’s as grand as it is introspective with an intensity that’s sometimes breathtaking, sometimes overwhelming. While it’s too soon to know if it will reach the iconic status of its predecessor, it’s a captivating journey back to the sands of the Colosseum.

Thanks to Scott’s unparalleled eye for spectacle and the commanding work of both Mescal and Washington, Gladiator II is an old-school epic that reminds us of why we love going to the cinema. It may not be perfect, but in a world of reboots and remakes, it’s a sequel that dares to be bold, even when it falters. For fans of the original, it’s a return to Rome worth taking. You will be entertained. And, really, isn’t that all that matters?

Distributor: Paramount Pictures
Cast: Paul Mescal, Pedro Pascal, Joseph Quinn, Fred Hechinger, Lior Raz, Derek Jacobi, Connie Nielsen, Denzel Washington
Director: Ridley Scott
Producers: Ridley Scott, Michael Pruss, Douglas Wick, Lucy Fisher, Walter F. Parkes, Laurie MacDonald, David Franzoni
Screenplay: David Scarpa
Cinematography: John Mathieson
Production Design: Arthur Max
Costume Design: Janty Yates
Editors: Claire Simpson, Sam Restivo
Music: Harry Gregson-Williams
Running Time: 148 minutes
Release Date: 14th November 2024 (Australia)