Gladiator II – Review

Few filmmakers have mastered the art of large-scale storytelling quite like Ridley Scott. From the sci-fi grandeur of Alien (1979) and Blade Runner (1982), to the historical sweep of Gladiator (2000) and Kingdom of Heaven (2005), Scott has repeatedly proven his ability to craft visually arresting, narratively ambitious films. But while his original epics have garnered critical acclaim, his forays into sequels such as Hannibal (2001), Prometheus (2012), and Alien: Covenant (2017) have yielded more divided opinions. 

But that has never been a consideration for the filmmaker and 24 years later, the 86-year-old director makes a bold return to the blood-soaked sands of the Colosseum in Gladiator II – a setting that once defined his directorial prowess, and what a spectacle this sequel is. Gladiator II is a film that knows exactly what it is: a no-holds-barred action extravaganza designed to thrill in its 2 hours and 28 minutes runtime. Scott orchestrates scenes of gladiatorial combat with a surprising ferocity, throwing everything from ravenous baboons and marauding rhinos to sharks (yes, you read that right) into the battleground. This is a film that revels in excess, offering a visual feast that includes not only impressive action sequences, but also the undeniably toned physiques of its leading men, albeit with a less emotionally resonant narrative.

Picking up 16 years after Maximus Decimus Meridius’ (Russell Crowe, L.A. Confidential, A Beautiful Mind) fateful battle with Commodus (Joaquin Phoenix, Joker, Napoleon) in the first film, the sequel reveals a Rome still struggling to find stability. Far from ushering in a golden era, Maximus’ sacrifice left a leadership vacuum that plunged the empire into deeper paranoia and danger, leading to the rise of vicious emperors Caracalla (Fred Hechinger, The White Lotus) and Geta (Joseph Quinn, Stranger Things).

Their volatile personalities and unpredictable whims call to mind Malcolm McDowell’s unhinged performance in the notorious 1979 film, Caligula, with a touch of John Hurt’s chilling portrayal in 1976’s I, Claudius. The emperors’ antics, including Caracalla’s fondness for a pet capuchin monkey adorned in a tiny dress, provide a welcome dose of comic relief without undermining the underlying tension of their tyrannical rule. While they may not possess the same dramatic, power-hungry flair as Phoenix’s Commodus, Geta and Caracalla inject a unique brand of chaotic energy into the film, balanced only by an unyielding thirst for conquest.

Amid the chaos and political turmoil, Lucilla (Connie Nielsen, Wonder Woman) emerges as a stronger, more determined figure, haunted by her family’s legacy but also fiercely committed to justice. Meanwhile, Lucius Verus (Paul Mescal, Normal People), the son of Lucilla and Maximus, finds himself thrust into the gladiatorial arena after General Marcus Acacius (Pedro Pascal, The Last of Us, Narcos) lays siege to his Numidian sanctuary, resulting in his capture and enslavement. Lucius becomes both a warrior and a symbol of resistance, carrying the weight of his lineage while forging his own path. Sound familiar? 

While Gladiator II echoes the original film’s plot structure – the exiled hero thrust into the gladiatorial arena, corrupt politicians pulling strings, and a final showdown in the Colosseum, we could go on – it narrowly avoids becoming a retread. Gladiator II is less concerned with exploring the complexities of Lucius’ internal struggle and more focused on using him as a symbol for a younger generation fed up with the emperors’ rule. This symbolic representation allows Gladiator II to tap into a broader theme of societal change and rebellion, reflecting the simmering discontent brewing beneath the surface of Ancient Rome.

Mescal effectively embodies this symbolic role and delivers a physically convincing performance, embodying a warrior capable of enduring the arena’s brutality. His character seeks vengeance against Pascal’s Acacius, a seasoned general who ultimately reveals himself to be a man of integrity, resisting the emperors’ insatiable thirst for conquest. Pascal’s restrained, noble portrayal of a general resisting imperial bloodlust creates a sense of integrity rarely seen in Rome’s corrupted hierarchy. Sadly, his early departure leaves a noticeable void, one the film fills with a far more interesting foil for Lucius – Denzel Washington’s (The Equalizer, Man on Fire) Macrinus.

Washington’s Macrinus electrifies the screen, offering a masterclass in controlled chaos as a former slave turned master of gladiators and political operator. Draped in gilt robes and brimming with Machiavellian charm, Macrinus is a magnetic presence whose every gesture speaks of calculated ambition. He commands attention not just through his opulent appearance but through a performance that oscillates between whispered threats and flamboyant charisma. His scheming cuts through Geta and Caracalla’s erratic rule, offering a steady stream of unpredictability as he manipulates the system for his own gain. Washington’s layered portrayal ensures Macrinus is more than just a power-hungry puppet master – he is a character whose motives remain tantalisingly ambiguous, shifting between potential ally and looming adversary.

The dynamic between Lucius and Macrinus is where the film finds its sharpest edge. As Lucius grapples with his father’s legacy of honour and strength, Macrinus presents a living contradiction: a man who rose from oppression to power but embodies the very corruption Lucius seeks to dismantle. Washington’s unrestrained performance draws out some of Mescal’s best moments, particularly in their tense exchanges, where Lucius’ simmering rage collides with Macrinus’ smooth cunning. It also helps that when Washington takes the stage, the film’s energy surges, stepping confidently out of the original’s shadow. His scene-stealing portrayal of Macrinus blends Shakespearean drama with campy delight, infusing the film with a vitality that complements the epic grandeur of its story.

That grandeur, deeply rooted in the tradition of mid-century sword-and-sandal epics, reaches new heights with the advances in visual effects since Gladiator’s release. Director Scott seizes the opportunity to deliver sequences that were likely deemed impractical in 2000, such as a thunderous face-off between gladiators and a charging rhinoceros, and a spectacular naval battle staged in a flooded Colosseum pit filled with sharks. 

But this comes at a risk because while the scale of the action may have increased in epic proportions, it was done at the cost of emotional impact. The battles feel somewhat diminished, lacking the visceral immediacy and emotional weight of those in the original. Where Gladiator made us feel every blow, every loss, Gladiator II keeps us watching at a distance, prioritising spectacle over emotional connection. This is not to say that the action sequences are poorly executed (they are undeniably entertaining), but they lack the raw intensity that defined the original’s gladiatorial combat.

Beyond the over-the-top battles and gladiatorial spectacle, Gladiator II finds its heart in a journey of redemption and the hope for a better future. Lucius evolves from a man driven by anger and vengeance into a reluctant hero who dares to dream of a Rome for the people. It’s quite thrilling to watch that change, especially as he gradually embraces his father’s legacy (and when he finally does, it’s oh-so satisfying). 

Victory in Gladiator II is steeped in blood and violence, but it’s not without meaning. The promise of a Rome reborn, even in the face of corruption and betrayal, imbues the story with a sense of purpose that elevates it beyond a mere spectacle. The film is as much about reclaiming humanity in the chaos as it is about reclaiming power, and it’s in those quieter moments that Gladiator II resonates most. 

As the dust settles, Gladiator II leaves its mark, not as a perfect sequel, but as an ambitious and deeply entertaining spectacle. It may not deliver the emotional gut punches of its predecessor, but it confidently answers the iconic question posed by Maximus: “Are you not entertained?” 

For all its flaws, Gladiator II ensures the answer is a resounding yes.

Natalie

Natalie is a big fan of anything related to movies, TV shows, games, and comics — you name it. When she’s not reading or geeking out about the latest shows on Netflix, she’s probably playing gacha and tabletop games, or daydreaming of Sylus from Love and Deepspace.