Disclaimer: This review contains spoilers for “Gladiator II.”
“I will see you again, but not yet. Not yet,” Djimon Hounsou’s character, Juba, muttered in an empty Colosseum as the closing line of Ridley Scott’s 2000 masterpiece “Gladiator.” To the backdrop of Lisa Gerrard and Hans Zimmer’s riveting “Now We Are Free” track, a lone soldier’s arm gently ruffles through a wheat field lit by soft golden rays — a moment etched in cinematic history.
The fact that my first thought when reviewing Scott’s sequel was to relive the closing of his original is a testament to his brilliance and the breathtaking initial rendition of Rome through the tale of Maximus, played by Russell Crowe. Maximus, who wins over viewers just as easily as he does the unsparing crowds in the film, offers a rich character rooted in simplicity who must serve as the military face of the Roman empire. Scott recreates this complexity with his latest protagonist Lucius, played impressively by Paul Mescal. Mescal encapsulates a brutish warrior bravado while simultaneously carrying the sensitive burden of recent losses. For context, Lucius is the grandson of Marcus Aurelius — the emperor in the original movie — and the secret son of Maximus and Lucilla, who we learn abandoned him after the events of the first film in fear of his safety.
The plot of “Gladiator II” picks up 16 years later with a fully grown Lucius, going by the name Hanno, defending the kingdom of Numidia against Roman invaders. From a storyline perspective, the complexity of Lucius and his backstory offers continuity from the original while establishing his new personality. I didn’t think such continuity would be possible considering the time gap between both films and the death of the original protagonist and antagonist, Lucius’ evil uncle, Commodus. Viewers perhaps expected an entirely new story but were more engaged after discovering the plot evolution.
That being said, the film frustrates by trying excessively to match the original. Elements of revenge, a republic-favoring general, and a vicious merciless emperor are central to both films. The inclusion of General Acacius, played by Pedro Pascal is overkill. Acacius not only mimics Maximus as a general loyal to the republic with hopes of overthrowing the tyrannical elite but detracts attention from Lucius’ character. He is poorly developed and does not add to the film. By separating the general from the gladiator, Scott couldn’t recreate the depth exuded by Crowe’s original Maximus, who had to straddle both roles.
The visuals and score, however, are incredible and almost outshine those in the first. Harry Gregson-Williams’ music is captivating and purposely embedded in key scenes, much like Zimmer’s soundtrack in the first movie. In terms of visuals, Scott dialed up the brutality and scale of the film, to the annoyance of historians who were quick to identify inaccuracies. For viewers, the epic recreation of the naval battle, which flooded the arena with grand ships and bloodthirsty sharks, was a memorable spectacle despite holding little historical accuracy. In his first fight, Lucius fends off ruthless baboons in a gruesome brawl and later takes on a Roman gladiator mounted atop a rhino — two overly theatrical but gripping inclusions in the film.
Despite an array of unnecessary characters with undeserving screen time — most notably the underwhelming brothers Caracallal played by Fred Hechinger and Geta, played by Joseph Quinn, who share emperor status — Denzel Washington’s role as Macrinus, a businessman and gladiator buyer, offers viewers a manipulative antagonist who is cunning in his pursuit of Lucius and a relationship with the empire’s royalty. A former slave, Marcrinus has battled for recognition and dignity his whole life and sees Lucius as providing a direct path to the Colosseum and the riches of Roman glory. He is similar to Proximo’s character in the first film in that he holds an outsider complex that is emotionally driven by his past. Washington’s performance is stirring, with powerful line delivery and gripping expressions, and occupies more of a villain role than the emperors themselves. It’s nowhere near Joaquin Phoenix’s role as Commodus in the original, but it draws viewers in nonetheless.
Scott’s attempt to rekindle his 2000 classic provides viewers with a much-anticipated return to Rome, recharged with grand battle scenes, more gruesome duels and a plot that extends beyond the walls of the empire. It also pays homage to what will forever be the franchise’s face through the memory of Maximus. What it lacks is original character development and a plot uninterrupted by unnecessary secondary personalities. The somewhat predictable storyline follows the skeleton of the first film despite having the foundation to flourish on its own. With a third movie possibly in production, Scott can still tie the ribbon on an enduring trilogy; fans will expect a fitting film that will center around Lucius and his newfound role as emperor.
