‘Gladiator II’ Review – A Story Of Strength, Honor, And Monotony

Gladiator is now a duology and the sequel has come to entertain us after twenty years, which may be two decades too late.

To begin with, Gladiator II features some impressive and fantastic battle sequences in the Colosseum, despite how historically inaccurate they might be. The monkey sequence showcases how skilled Hanno (Paul Mescal) is as a fighter and also in how he interacts with others.

Then there’s the rhino sequence, among others, 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, and these gruesome deaths get increasingly grisly and memorable as the film progresses. Unfortunately, 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 escalating level of brutality eventually culminates with the most satisfying kill – and it takes only two and a half hours to achieve!

The performances fluctuate between top-tier perfection and mediocre overacting. Denzel Washington is having the time of his life as Macrinus. He has the most interesting storyline and 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, 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. Going from Pascal to Mescal, his character is written and performed in a muddled way. Moreover, who Paul Mescal’s Lucius/Hanno actually 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, but 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.

The returning Connie Nielsen, one of the few actors from the original film, is awful, unfortunately, as her acting always comes off as forced. Her crying scenes are often portrayed as constipated grunts with crocodile tears, and 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. It is largely dull and difficult to indulge during its quieter moments, though its incredible set pieces, intricate costume design, and impressive use of infinitely numerous extras are gorgeous.

Director Ridley Scott reunites with all the set decorators (Sonja Klaus, Crispian Sallis, and Emilio Ardura) and costume designer (Janty Yates) he worked with on Gladiator in 2000. From a visual standpoint, his films are highly detailed masterpieces, and things are no different here.

Denzel Washington’s extravagant performance likewise 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. Scott waited over twenty years to make a more-than-twice-as-expensive sequel – only to rehash the same story points.

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