Gladiator II

Gladiator II features some impressive action sequences. Every battle in the Colosseum is fantastic despite how historically inaccurate they may be. The monkey sequence showcases how skilled Hanno (Paul Mescal) is not only as a fighter but also in how he interacts with others. Then there's the rhino sequence that plays out much like Bugs Bunny’s interactions with Toro the Bull in the Chuck Jones-directed Looney Tunes short Bully for Bugs (1953). While those sequences are fairly believable, the shark sequence seems like pure fantasy and that’s why it’s so incredible. They fill the Colosseum with water and let sharks loose while the opposing gladiators try to survive the onslaught on boats. It’s also interesting to note that every major actor who dies in the film has a spectacular death. Not only that but these gruesome deaths get increasingly more grisly and memorable as the film progresses. These bloody triumphs rarely delve any deeper than someone getting shot with a bunch of arrows or a beheading or appendage severing of some kind. This level of brutality escalates throughout the film and eventually culminates with the most satisfying kill that takes two and a half hours to achieve. The performances fluctuate between being top-tier perfection and mediocre overacting. Denzel Washington is having the time of his life as Macrinus. He has the most interesting storyline and Denzel dances in every scene with a giddiness that is unparalleled. Joseph Quinn seems to be acting in an entirely different film than everyone else as Emperor Geta. His mannerisms are operatic and theatrical with his wide eyes that rarely blink, grand body language and hand gestures, and explosive line delivery. Pedro Pascal doesn’t do anything in Gladiator II as Marcus Acacius that he didn’t do in Game of Thrones apart from having more screen time. Much like how his character is written, Paul Mescal’s performance is muddled. The Hanno character and who he is is a poorly kept secret that consistently pulls the character in several directions. Hanno is vengeful at first before succumbing to being the hero of the film and the evolution isn’t earned. The writing and pacing of Gladiator II feel like the film drops Hanno’s fate in his lap halfway through, which he’s either forgotten about over two decades or never knew until the audience did. Connie Nielsen, one of the few returning actors from the original film, is awful in this. Her acting in Gladiator II always comes off as forced as her crying scenes are often portrayed as constipated grunts with crocodile tears. Her dialogue delivery is also strained and broken despite being given some of the most important sequences of character connections and reawakenings of sorts in the sequel. Calling Gladiator II action-heavy is misleading because the film drags between every fight sequence. The film is largely dull and difficult to indulge during its quieter moments. The film is gorgeous with its incredible set pieces, intricate costume design, and impressive use of infinitely numerous extras. Director Ridley Scott reunites with all of the set decorators (Sonja Klaus, Crispian Sallis, and Emilio Ardura) and costume designer (Janty Yates) that he worked with on Gladiator in 2000. From a visual standpoint, Ridley Scott's films are highly detailed masterpieces. Denzel Washington’s extravagant performance makes Gladiator II worthwhile. Still, not even its excessively violent action sequences, beautiful cinematography, and masterful set and costume design can save the sequel from how boring it is. Ridley Scott waited over twenty years to make a sequel that is more than twice as expensive as the original only to rehash the same story points.