“Gladiator II” Is Set Against Itself

Gladiator II (Ridley Scott, 2024) 3 out of 5 stars

Step back into Ridley Scott’s arena in the long-anticipated Gladiator II, where its predecessor’s gallant heroes, creative combat, and lingering questions about power and freedom endure. Set sixteen years after the original, this version of Rome, now ruled by chaotic twin emperors, seems to have nearly forgotten the dream that Russell Crowe’s Maximus died to protect: a more just republic. But when Lucius (Paul Mescal, Aftersun), son of Maximus and rightful heir to the empire, emerges from his quiet life on the fringes as a gladiator bent on avenging his wife’s death, he brings with him a glimmer of hope. Yet, while Lucius may reignite the spark of the people, the sequel never fully recaptures the intensity of the first film’s flame.

Scott catapults us into Lucius’ world as he defends his homeland from the invading Roman army, an intriguing role-reversal from his father. His story often mirrors Maximus’, which is gorgeously alluded to in the opening credits scene, although it avoids giving a simple recap of events. But while the movie seems to expect its audience to remember Maximus’ story, it readily hands them the meaning to be derived in Lucius’. The connection to the original feels overstated, and the early reveal that Lucius is his son lacks the gravity it deserves and robs the movie of a grander mystery.

Paul Mescal channels his best Russell Crowe, and while he’s perhaps more immediately relatable, he lacks a certain command of the screen that would make him as inspiring. The other half of the Maximus-archetype is bestowed to Pedro Pascal (Wonder Woman 1984), who seems to bring that necessary gravitas but isn’t given a fair shake to truly shine. Similarly, Fred Hechinger (Thelma) and Joseph Quinn (A Quiet Place: Day One), as the twin emperors, bring a strange but not unwelcome zaniness to the story, though their talents feel somewhat underutilized compared to Joaquin Phoenix’s singular presence as Commodus in the original. The surprise of the story, but not a surprise to the audience, is the magnetism of Denzel Washington (The Tragedy of Macbeth) as Macrinus, a former slave turned enslaver with even greater ambitions. Washington steals the spotlight, thanks to his more complex character that deftly blurs the boundaries of good and evil.

This cast may be slightly overstuffed, but where they’re truly at a disadvantage is with the merely satisfactory writing. Although there are certainly moments of insight, intelligence, and deep emotion, it’s an impossible task to reach the mastery of the first film. Where the former’s dialogue had you hanging on every word to understand the depths of its meaning, this one only demonstrates that greatness in glimpses and can often feel repetitive.

However, the world around them is immensely rich. Cinematographer John Mathieson, who also shot Gladiator, returns to yet again treat the viewer to an epic feast for the eyes. The battles are distinct and memorable, with the shark-infested waters and rhinoceroses. They bring the right level of violence, while still making the deaths land with impact. And the ornate costumes and powerful score perfectly add texture to make them really work. But while the highs may not feel as high and the lows not as low, Gladiator II is an entertaining feat in its own right, and neither tarnishes nor elevates the legacy of its predecessor. The dream of Rome may be fading, but it certainly isn’t dead.

Hannah Tran

Hannah Tran is a film critic and filmmaker from Las Vegas, Nevada. Hannah works as a film screener for the Las Vegas Film Festival and publishes an independent zine focused on highlighing Asian American filmmaking.