Review: Gladiator II

Score: B-

Director: Ridley Scott

Cast: Paul Mescal, Denzel Washington, Pedro Pascal, Connie Nielsen

Running Time: 148 Minutes

Rated: R

There isn't a single reason for Gladiator II to exist. The original film - nearly a quarter-century old at this point - was self-contained, an epic story that won five Oscars including Best Picture. But as with any project in this IP-obsessed era of Hollywood, there are plenty of ways to make it a worthy endeavor. This belated sequel brings back Ridley Scott to the director's chair, as well as actors Connie Nielsen and Derek Jacobi. But the often dazzling, tactile spectacle of the original is replaced by CGI. And its revenge/redemption story sometimes takes a backseat to political intrigue.

So what makes it worth seeing? The biggest reason is Denzel Washington. While readily acknowledged as one of the greatest living actors, this supporting turn gives him an opportunity to play a true villain for (arguably) the first time since his Oscar-winning performance in Training Day. Here he squirms his way into Roman high society with money and illicit favors instead of brute force. For that, he buys and trains Lucius (Paul Mescal) as his "instrument," shaping him into a brutal gladiator. Lucius is fueled by his hatred of the empire, and specifically General Marcus Acacius (Pedro Pascal).

Mescal has been tapped as the "next big thing" for the last few years, and he's turned in sensitive, low-key work in All of Us Strangers and Aftersun. He certainly has the physicality to play a warrior. But he doesn't have the temperament to play one consumed by rage. He also lacks the gravitas and charisma of Russell Crowe, the undeniable hero in the original. You believed it when Maximus inspired the soldiers under his command or the slaves he fought alongside. While Lucius draws on Maximus's legend, Mescal fails to reach the same level.

Fred Hechinger and Joseph Quinn acquit themselves just fine as the eyeliner-wearing, STD-infested emperors. But they never make these twins into anything like real characters. Even at his most odious, you could understand the motivations that drove Commodus (Joaquin Phoenix). These brothers just sneer and cheer. But Pascal is done the greatest disservice. He's one of our most charming actors, on and offscreen. But here he's wasted as a military genius/would-be coup leader. He's positioned as the bad guy for much of the film, but is neither intimidating enough to be the villain nor inspiring enough to be the hero.

If all that sounds harsh for a movie I'm sort-of recommending, you should know that Washington really is that extraordinary. He keeps the movie humming along, and provides both its lightest and darkest moments. The costumes and production design are top-notch. And yes, some of the battles are dope. It's just a sequel fighting for two-and-a-half hours to justify its existence.

Gladiator II doesn't tarnish its predecessor's legacy. But it doesn't honor and build on it either.

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About Kip Mooney

Kip Mooney
Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.