“Gladiator II” asks the question: Are you not moderately entertained for roughly 60% of this sequel?
Truly, this is a movie dependent on managed expectations and a forgiving attitude toward its tendency to overserve. More of a thrash-and-burn schlock epic than the comparatively restrained 2000 “Gladiator,” also directed by Ridley Scott, the new one recycles a fair bit of the old one’s narrative cries for freedom while tossing in some digital sharks for the flooded Colosseum and a bout of deadly sea-battle theatrics. They really did flood the Colosseum in those days, though no historical evidence suggests shark deployment, real or digital. On the other hand (checks notes), “Gladiator II” is fiction.
Screenwriter David Scarpa picks things up 16 years after “Gladiator,” which gave us the noble death of the noble warrior Maximus, shortly after slaying the ignoble emperor and returning Rome to the control of the Senate. Our new hero, Lucius (Paul Mescal), has fled Rome for Numidia, on the North African coast. The time is 200 A.D., and for the corrupt, party-time twins running the empire (Joseph Quinn and Fred Hechinger), that means invasion time. Pedro Pascal takes the role of Acacius, the deeply conflicted general, sick of war and tired of taking orders from a pair of depraved ferrets.
The new film winds around the old one this way: Acacius is married to Lucilla (Connie Nielsen, in a welcome return), daughter of the now-deceased emperor Aurelius and the love of the late Maximus’s life. Enslaved and dragged to Rome to gladiate, the widower Lucius vows revenge on the general whose armies killed his wife. But there are things this angry young phenom must learn, about his ancestry and his destiny. It’s the movie’s worst-kept secret, but there’s a reason he keeps seeing footage of Russell Crowe from the first movie in his fever dreams.
Battle follows battle, on the field, in the arena, in the nearest river, wherever, and usually with endless splurches of computer-generated blood. “Gladiator II” essentially bumper-cars its way through the mayhem, pausing for long periods of expository scheming about overthrowing the current regime. The prince of all fixers, a wily operative with interests in both managing gladiators and stocking munitions, goes by the name Macrinus. He’s played by Denzel Washington, who at one point makes a full meal out of pronouncing the word “politics” like it’s a poisoned fig. Also, if you want a masterclass in letting your robes do a lot of your acting for you, watch what Washington does here. He’s more fun than the movie but you can’t have everything.
The movie tries everything, all right, and twice. Ridley Scott marshals the chaotic action sequences well enough, though he’s undercut by frenetic cutting rhythms, with that now-familiar, slightly sped-up visual acceleration in frequent use. (Claire Simpson and Sam Restivo are the editors.) Mescal acquits himself well in his first big-budget commercial walloper of an assignment, confined though he is to a narrower range of seething resentments than Crowe’s in the first film.
I left thinking about two things: the word “politics” as savored/spit out by Washington, and the innate paradox of how Scott, whose best work over the decades has been wonderful, delivers spectacle. The director and his lavishly talented design team built all the rough-hewn sets with actual tangible materials the massive budget allowed. They took care to find the right locations in Morocco and Malta. Yet when combined in post-production with scads of medium-grade digital effects work in crowd scenes and the like, never mind the sharks, the movie’s a somewhat frustrating amalgam. With an uneven script on top of it, the visual texture of “Gladiator II” grows increasingly less enveloping and atmospherically persuasive, not more.
But I hung there, for some of the acting, for some of the callbacks, and for the many individual moments, or single shots, that could only have come from Ridley Scott. And in the end, yes, you too may be moderately entertained.
“Gladiator II” — 2.5 stars (out of 4
MPA rating: R (for strong bloody violence)
Running time: 2:28
How to watch: Premieres in theaters Nov. 21.
Michael Phillips is a Tribune critic.
