Review: ‘Gladiator II,’ though more of the same, unleashes a scheming Denzel Washington

As a cinephile who’s seen more movies than I can count on my ten fingers and toes combined, I found myself revisiting the grandeur of the Colosseum once again with “Gladiator II.” The opening shot, reminiscent of its predecessor, struck a chord deep within me, echoing memories of Russell Crowe’s battle-worn hand caressing wheat fields.

The final shot of Ridley Scott’s 2000 film “Gladiator,” starring Russell Crowe, shows Maximus tenderly touching wheat fields, symbolizing his journey to somewhere in the afterlife. This peaceful scene is echoed in the opening of the sequel, “Gladiator II,” where rugged hands, hardened by farming and combat, delve into a bag of harvested crops, sensing the results of their labor.

In crafting my admiration for this follow-up, I found that two strikingly identical scenes served as its core idea. It’s not a new movie, but an old friend with subtle changes, consistently nodding to its predecessor, the iconic “Gladiator.” This revival offers more of what enchanted us in the first place: valor and integrity, entertainment and spectacle, action and emotion, all wrapped up in a package that echoes our memories of that remarkable film.

The individual who unfolds the pages of “Gladiator II” is Lucius (Paul Mescal), the son of Maximus and Lucilla (Connie Nielsen). Once a royal prince of Rome, he had to escape at the tender age of 12 for safety, leading him to become a simple farmer in Numidia, North Africa. He shares a peaceful domestic life with his spouse (Yuval Gonen), until Roman invasions disrupt their tranquility. Following one such invasion, spearheaded by General Acacius (Pedro Pascal), Lucius finds himself back in his hometown, now a slave gladiator and mourning the loss of his wife, mirroring his father’s fate.

Lucius possesses an innate talent for spectacle, borrowing techniques from Maximus, yet he exhibits a wilder, more aggressive side. This ferocity was noticed by gladiator agent Macrinus (played by Denzel Washington), mirroring how Maximus caught the attention of Proximo (Oliver Reed). Macrinus intends to turn Lucius into a shining star.

As a film enthusiast, I’m thrilled to share that this movie is a captivating exploration of doubles, doppelgängers, and duality, with twice the intensity and violence set in the grandeur of ancient Rome’s Colosseum. The narrative revolves around twin emperors, Geta (Joseph Quinn) and Caracalla (Fred Hechinger), who rule Rome in a complex fraternal partnership. Remember Joaquin Phoenix’s chilling performance from the previous film? Brace yourself, as you’ll now witness two Joaquins! These emperors, with their faces painted white and surrounded by an array of concubines from every gender, are utterly captivated by a barbarian who can recite Virgil while bathed in another man’s blood. This enigmatic figure, Lucius, is presented to them in a private showcase by Macrinus. He quickly becomes the Colosseum’s favorite, leading other gladiators to triumph over rhinos, sharks, and various human and animal beasts.

In a nutshell, Lucius seeks retribution against Acacius, and Lucilla (played by Nielsen again) yearns to rescue her son from the Colosseum. Meanwhile, Macrinus, played by Washington, has ambitions for power in Rome. The problem with “Gladiator II” is that it tries to juggle too many stories at once, making it hard for viewers to connect deeply with these characters.

In contrast to its predecessor, “Gladiator II” seems to miss the depth of narrative, character development, and subtle themes that made the original stand out. Instead of weaving a complex tale with layers of intrigue, this new version appears to present its story in a more straightforward manner, lacking the nuances that characterized the first film.

If “Gladiator” served as Scott’s metaphor for Hollywood, depicting the industry as a demanding audience and an aloof high-powered executive, then “Gladiator II” can be seen as his less subtle exploration of democracy (or politics, as Washington extravagantly puts it). The underlying message becomes clearer as Lucius delivers numerous speeches about the “ideal of Rome,” a concept he learned from his grandfather, Marcus Aurelius.

Despite some minor script issues, the visual spectacle in “Gladiator II” is stunningly impressive, making it Ridley Scott’s most visually appealing film in years. The movie is vibrant yet tinged with blood, weathered by sand and sun, giving it a sharp clarity reminiscent of the first film. Unlike some of his recent works, it lacks an odd desaturated feel. The afterlife visions experienced by Lucius are as unique and striking as those in the original, but they are presented in high-contrast black and white, making them stand out distinctly.

The cast is uniformly excellent, including the peacocking Washington, chewing the scenery, and the soulful Mescal, looking like the statue of David come to life in fierce, brutal form. Mescal has an element of unpredictable wildness, and when it’s allowed to come out it’s transfixing, though he’s largely kept on a leash, save for a few memorable scenes. Nielsen is radiant as Lucilla, 25 years after she first played the role, and achieves a bit of redemption for the character. Quinn and Hechinger revel in the ickiness of their dear leaders.

In terms of structure and style, “Gladiator II” closely follows its predecessor, making it predictable but faithful to the original film. It’s like a genetic copy, born from the same DNA and bearing the same visual characteristics. As the only potential sequel to Gladiator, it delivers exactly what you’d expect – both the good and the bad. So, are you not captivated?

Katie Walsh is a Tribune News Service film critic.

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2024-11-22 00:31