‘Gladiator II’ Review: Compelling, Ridiculous and Uproariously Pleasurable

Much like its predecessor, Gladiator II is a spectacle in the same way the glorious, bloody battles in Rome’s Colosseum enlivened and captivated the masses. It’s equal parts compelling, ridiculous and uproariously pleasurable, often to the point where you can almost hear director Ridley Scott shouting, “Are you not entertained?” And, in truth, there are very few viewers who will not be, even those skeptical of a belated sequel to the 2000 Best Picture winner, which had a thunderous performance from its star Russell Crowe. 

In the new film, directed by Scott and written by David Scarpa based on characters created by the original screenwriter David Franzoni, years have passed, but not much has changed in Ancient Rome. After Maximus’ heroic death in Colosseum, Lucilla (a returning Connie Nielsen) sends their son Lucius (Paul Mescal) away for his own safety. He grows up far from Rome in the North African province of Numidia, where he’s a ferocious fighter and military leader as well as a devoted husband. But soon the Roman army comes knocking, led by the stoic General Marcus Acacius (Pedro Pascal), and Lucius loses his wife and his freedom in a single battle. He’s brought to Antium, on Rome’s outskirts, where a dapper gladiator trainer named Macrinus (Denzel Washington, absolutely milking every moment) recognizes Lucius’ talent. 

And boy does Lucius have talent. He immediately wins over the crowd by literally biting a raging monkey during a small arena battle to prove his worth, eventually choking it to death in a pool of blood. He can fight with fist, sword and shield, and his as calculating as his father was when faced with brutal opponents like a charging rhino. He even quotes Virgil as he stabs someone to death as entertainment at a party. At first, Lucius seems indifferent to the machinations of Roman politics, currently led by the so-called “Twin Emperors,” Geta (Joseph Quinn) and Caracalla (a pitch-perfect Fred Hechinger). But soon it becomes clear that not only does Lucilla, who is now married to Marcus, recognize her son in the dusty Colosseum, but Macrinus may have plans for him as well. 

There’s a lot of devious behavior that transpires, both between politicians and within the Colosseum. The senators want to overthrow the emperors and create a new Rome, one Lucilla’s father Marcus Aurelius dreamed of before his death in Gladiator. Marcus has a plan to bring in a loyal army after the conclusion of the gladiator games, but Lucius has to survive them first. This includes the infamous shark battle, which Scott originally wanted to include in Gladiator. It’s cinema at an extreme, the Roman Colosseum filled with water as slaves battle on wooden ships surrounded by CGI sharks. It’s bloody and delightful, made even better by the idea that it might be based in historical fact. Not that Scott cares about authenticity—at one point a character is reading a newspaper even though newspapers wouldn’t be invented for hundreds of years. But the point is entertainment and spectacle, not accuracy. 

Crowe, who won Best Actor for Gladiator, left big sandals to fill. In another universe, there was a version of this sequel that included his character Maximus appearing from the afterlife. But here it’s Mescal who straps on the famous gladiator’s chest plate and attempts to wield his sword with equal might. It’s a strong effort. Mescal embodies a real sense of movie star energy and he is a believably ferocious fighter. The script ensures that he and Pascal get pitted against each other in the Colosseum, and it’s as satisfying and thigh-filled as the trailers let on. So is Washington’s performance, which is somehow both intensely high brow and borderline camp. He does a line reading of the word “politics” that will go down in film infamy. 

Although Scott is unconcerned about historical details like newspapers, his collaborators are far more detail-oriented. Production designer Arthur Max and costume designer Janty Yates both returned to help build the visual world of the film, which is immersive and memorable. Cinematographer John Mathieson continues the aesthetic he started in Gladiator, ensuring that the fight sequences are fluid, tension-filled and easy to follow. There’s an overall high level of craft, especially in the massive set builds and the intense special effects, which included creating a 3D printed rhino that could be operated by remote control. 

At 86, Scott keeps cranking out these massive blockbuster movies with apparent ease, although it’s sometimes to mixed results (sorry Napoleon). Gladiator II is a genuine success as Scott embraces his predilection for epic tales about power and moral fortitude in a way that never feels like it’s trying too hard. Sure, there are moments where the film gets stuck on the nostalgia of the original, including the melodramatic ending. And Crowe is missed, even if this cast is enjoyable to watch. But even when Gladiator II veers towards the ridiculous it’s always in service of entertaining you. And that’s exactly what it does.