There’s nothing quite like starting a new millennium with a historical epic that would leave an undeniable cultural and artistic impact. Gladiator is regarded by many as the magnum opus of Ridley Scott’s career – a claim that’s challenging to make without any doubts given the filmmaker’s other classics like Blade Runner, Alien, Thelma & Louise, and countless other memorable movies. Personally, I count myself among those who hail this masterpiece as such, and as someone who dismisses the negative opinions about the “necessity” of new releases based on past works, I was genuinely excited going into Gladiator II.
The sequel is set several years after the death of Maximus (Russell Crowe), following Lucius (Paul Mescal) on his journey to the Colosseum after powerful emperors conquered his city. Filled with rage and holding the fate of the empire in his hands, Lucius draws inspiration from the past to find the strength and honor needed to restore Rome’s glory to its people. Screenwriter David Scarpa (Napoleon) returns to collaborate with Scott, and the cast is filled with new and familiar faces.
What makes Gladiator an enduring classic is its interdepartmental success. Every filmmaking and storytelling element excels, both individually and collectively, immersing the audience in an experience that transports them to an era where violence not only served as societal spectacle but drove the world through political corruption, slavery, and death. The original film’s narrative delivers entertainment in spades, but it’s the complex thematic exploration that captures the audience’s attention and heart, leading to one of the most cathartic and unforgettable conclusions in cinema history.
And it’s precisely in exploring similar themes that Gladiator II both shines and falters. Despite the thematic depth offered, Scott and Scarpa can’t quite shake the feeling that this path has already been traversed. The structure and narrative of the sequel’s script, in many ways, mirror those of the original, making its extended runtime feel more drawn-out between the action and bigger story development sequences.
The thirst for control and political power is embodied by Macrinus (Denzel Washington), a former slave who seeks to rule Rome, much like Commodus (Joaquin Phoenix) sought to maintain his throne – both indifferent to the consequences for those around them, including the Roman people. The duality between justice and vengeance once again drives the protagonist, this time Lucius, though his motivation mirrors Maximus’. I wasn’t a fan of the trailers revealing their connection, but unfortunately, we live in a time where information is readily sacrificed for buzz. Similarly, Lucius’ virtues of honor and loyalty contrast sharply with the antagonists’ lack of integrity.
The themes of life, death, and the afterlife are revisited through the same flashbacks that haunted Maximus, with the dichotomy between destiny and freedom adding tension to the characters’ decisions throughout their arcs. Thus, Gladiator II delves into the complexities of human nature, society, and the search for purpose in a world defined by constant conflict and moral ambiguity… just like its predecessor. While I wouldn’t say it does so any better or worse, the absence of the original’s element of surprise makes the narrative feel somewhat more predictable.
From a technical standpoint, Gladiator II delivers as expected, leveraging technological advancements and the current emphasis on stunt choreography to craft captivating battle and combat sequences. Overall, the action feels more “polished,” with intricate choreography, long takes – credit to John Mathieson’s gorgeous cinematography, returning from the first movie – enhanced visual effects, and plenty of blood and brutal deaths. Yet, the inherent chaos of the battles remains intact, with adrenaline levels inevitably spiking whenever a new set piece begins.
Whether it’s the epic opening sequence or the spine-tingling conclusion, Gladiator II is unlikely to disappoint the average viewer, despite its less accessible length. Harry Gregson-Williams’ score (The Last Duel) stands out by using Hans Zimmer’s iconic themes as mere accents to his own original composition, elevating the movie’s most impactful moments, especially the climax.
And just like in 2000, the transformative performances of the entire cast elevate the film further. Mescal (Aftersun) and Pedro Pascal (The Last of Us) bring impressive physicality to the big screen, performing their own fierce fight choreographies. The former captivates with magnetic speeches, while the latter’s subtle expressions reveal depth beyond the surface of his character. However, the spotlight shines brightest on Washington (Training Day), whose commanding presence captures the audience’s attention effortlessly – a true scene-stealer. The return of Connie Nielsen and Derek Jacobi feels justified, with the actors slipping seamlessly back into their roles, while Joseph Quinn (A Quiet Place: Day One) delivers intensity like no other, continuing his remarkable rise.
Whenever legacy sequels emerge, the debate around the “necessity” of such flicks inevitably reappears. Personally, I find that cinephiles often confuse this term with the reason for a film’s existence. Whether Gladiator II is necessary or not is irrelevant to its quality and enjoyment. What truly matters is whether the new story and characters introduced justify the sequel beyond the original movie. And, quite simply, the answer is a resounding yes, proving that Scott still has much to offer cinema.
Gladiator II may not achieve the groundbreaking impact of the original film, but it remains an impressive cinematic experience, transporting audiences into an epic filled with emotional and visual grandeur. Ridley Scott once again showcases his mastery in blending narrative, action, and thematic depth, delivering a sequel marked by superb technical execution and standout performances, particularly from Denzel Washington. Despite the inevitable comparisons to the classic, the iconic filmmaker presents a story that justifies its existence, even if it treads familiar ground. Necessary or not, what truly matters is the strength (and honor) with which a work captivates us – and here, Gladiator II triumphs.
