REVIEW: "Gladiator II" (2024)

WRITER'S NOTE: The following was originally posted on my Facebook page on December 6, 2024. 

In recent years, several directors with diverse and acclaimed filmographies have shown that, despite their respective ages, they can still deliver dynamic and striking cinematic experiences. These include Martin Scorsese (81 when he made last year’s period western Killers of the Flower Moon), Francis Ford Coppola (85 for his sci-fi fable Megalopolis), and Clint Eastwood (94 for the stirring courtroom drama Juror #2). And then there’s Ridley Scott, who just celebrated his 87th birthday on November 30th, nearly two weeks after the release of his long-awaited sequel to the 2000 sword-and-sandals epic Gladiator, starring Russell Crowe. 

Set nearly 20 years after the legendary and dignified Maximus Decimus Meridius (Crowe) overthrew the corrupt Emperor of Rome and strived for a better future for the nation, Gladiator II centers on an adult Lucius (Paul Mescal, leading a compelling cast), who, as a child, witnessed Maximus’s victory, and now leads a married life as a farmer and soldier. His backstory will be mysterious to those watching this for the first time. But if you’ve seen any of the trailers, it’s obvious that Lucius is identified as the illegitimate son of Maximus and Lucilla. (Connie Nielsen reprises the latter role from the first film.) 

Following some immersive opening credits that recap the events of that first chapter—in brilliant oil painting-style animation, similar to the logo of Scott’s production company, Scott Free—Gladiator II opens in Numidia in 200 A.D., as the citizens of the “last free city” are forced into slavery and the strong are put into gladiatorial matches to win their freedom. (“Strength and honor” is this story’s most recurring catchphrase.) 

Rounding out the cast is Pedro Pascal as Roman General Acacius, who, like Lucilla, is one of the few who secretly fights for the freedom of Rome from its corrupt, pale, and blood-thirsty twin emperors (played by Joseph Quinn and Fred Hechinger). “I will not waste another generation for their vanity,” says Acacius of the sadistic rulers. That there is more to him than he seems is a testament to Pascal’s brilliant performance, dignity, and complexities. It highlights the fact that those who appear as antagonists may not be, and those who appear as trustworthy also may not be. Which brings us to Denzel Washington as “Master of Gladiators” Macrinus, a commanding and riveting presence that strives for power and control. (Wait until you see him on horseback.) This conflict between control and freedom is at the heart of the fall of the Roman Empire, with a city, nation, and people in need of salvation.

Like Wicked, Gladiator II is a combination of large-scale set pieces and CGI spectacle, with period detail in costume and production designs, and in art direction. Not to mention a thumping sound design, especially with no score, thus making the action all the more engaging and effective. The well-choreographed fight sequences feature hairless, freaky monkeys and massive rhinos, as well as a naumachia in a flooded colosseum. (It should be noted that there’s reportedly much historical inaccuracy here). The previews also suggest a jaw-dropping duel between Mescal and Pascal. 

This better-than-expected sequel expands the world of the first film not only in scale, but also in graphic and intense warfare/combat—brutal, swift, sometimes bone-crunching, and gruesome. And bloody. Very bloody. There are also subtle visual and aural callbacks to the original, thanks, in part, to composer Harry Gregson-Williams’ epic and profound score. Gladiator II makes the themes and ideas from its Oscar-winning predecessor as relevant (if not more so). The story’s callback to the “dream” that former emperor Marcus Aurelius had--for a new and free nation--is even questioned as to whether his vision of Rome was real or just a fantasy. In a way, it elevates this second entry. Despite a paganistic worldview, as well as ancient theology and spirituality (or the lack of it), I found many examples of general revelation throughout this story. 

That being said, the film does seem to rush a bit, especially during its climax. The first film had a similar issue. Likewise, both entries contain a few predictable or familiar elements or story beats. By comparison, this second installment is arguably more polished and takes its time. However, I would’ve liked to see more of the other soldiers, and not just as background characters. (Speaking of which, I wonder how many extras they hired for this movie, exactly.) 

While not for everybody, Gladiator II is a story of legacy, leadership, embracing one’s true identity and heritage, and fighting for more than just survival. And (like Kingdom of the Planet of the Apes), it highlights remembering and honoring those who’ve gone before us, including long-forgotten heroes and/or legends. The same goes for filmmakers (like the aforementioned Scott and company) who’ve blazed trails for future directors and storytellers, in terms of diverse stories and genres to be told and seen on screen. 

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