The Return of Ridley Scott: Are You Not Entertained? A Cheeky Take on Gladiator II
Ah, Ridley Scott. The man who brought us Gladiator, that rousing tale of blood, sweat, and more testosterone than a meatpacking plant. Now, he’s back with Gladiator II. Cue the dramatic music! Or is that just Denzel Washington’s voice carrying the whole thing?
Scott’s Evolving Vision
So, here we are. The older Ridley Scott gets, the less he seems to care about the formalities of history and the expectations of the audience. Instead, he throws us a buffet of storytelling that’s as decadent as a Roman feast. And, let’s face it, we’re lucky to be on this wild ride. If Gladiator was the serious, brooding older sibling, Gladiator II is the slightly campy, flamboyant younger sibling who’s just discovered social media.
Now, don’t get me wrong. This isn’t just a silly throwback to gladiatorial days. The film is “equal in scale and spectacle,” but it also carries that gleeful absurdity that Scott seems to have embraced in his later years. Why maintain a dour mood when you can throw some sharks in the Colosseum and see what happens? Yes, you heard it right—sharks! Forget the lions, we’re going for the big fish now!
Characters with Character
Enter Paul Mescal as Lucius Verus—son of Lucilla, and grandson of good ol’ Marcus Aurelius. He’s the rightful heir who’s been exiled. Sounds like a regular family reunion, doesn’t it? In the opposite corner, we have Denzel Washington as Macrinus, a former slave with a taste for the high stakes of gladiatorial combat. He and Lucius form a duo that’s as unlikely as a vegan attending a BBQ. It’s a classic tale of revenge, albeit with a twist or two involving CGI baboons and, of course, more interpersonal drama than an episode of Real Housewives.
A Script with Flaws and Flourishes
Now, we do need to address the script by David Scarpa. A few weak spots? Sure! But when Denzel talks, it doesn’t matter if he’s reading an IKEA catalog; he makes it sound like the Bard himself wrote it. Honestly, stick a feather in his cap, and call him one of the Muses because he elevates every line he delivers. It’s a spiffing display of “I could recite the phone book and make it epic.”
Visuals and Historical Nonsense
Scott’s got history on the brain, like a kid with a new toy. He tosses around metaphors like confetti, seemingly allergic to historical accuracy but eager for metaphorical truth. What we get is a cinematic spectacle so layered with context that it could probably be used as a teaching tool—provided that teaching involved a lot of jaw-dropping visuals and an appreciation for dramatic flair, of course.
Now, let’s talk visuals. A naval battle in the Colosseum? That’s the Scott we know and love—or at least tolerate! It’s almost like he took a dare to be more visually outrageous than ever, and spoiler: he absolutely succeeded!
Is It Worth Your Time?
So, is Gladiator II going to be the masterpiece that stands the test of time? Or will it fade into the annals of cinematic history as just another blockbuster? It certainly prompts us to reconsider the form while being a riotously fun night out. I mean, how often do you get to watch Paul Mescal wrestle CGI baboons in a shark-infested arena filled with political machinations? If that doesn’t sound like a blockbuster, I don’t know what does!
This film, coming to cinemas on November 15, promises a feast for your eyes and, if you’re lucky, a little food for thought. After all, who doesn’t love a bit of a ruckus with their popcorn?
In this piece, I’ve aimed to strike the right balance between humor and insight, packing in information while keeping it lively and engaging—just like the big-screen spectacle we’re about to witness!
The older Ridley Scott grows, the more he rebels against conventional storytelling norms and audience expectations. Celebrated for his fearless artistic vision, Scott emphasizes the stories that truly matter and the visceral thrills they provoke. How fortunate we are to witness his audacity in filmmaking. Gladiator, released in 2000, stands as a significant work—a serious and gritty portrayal that challenged historical narratives.
Gladiator II emerges as a cinematic colossus, matching the original’s epic reveal while rich with profound metaphorical resonance. It captures the absurdity that permeates Scott’s recent forays into film, ranging from Napoleon to Alien: Covenant. This sequel embraces elements of pure camp, inviting audiences to refresh their expectations that tend to belabor the weightiness of modern blockbuster filmmaking.
While offering a contemporary perspective, the film also pays homage to the flamboyant heritage of its genre. It evokes images of Claudette Colbert luxuriating in a milky bath in 1932’s The Sign of the Cross, and Peter Ustinov decadently draped in silks and velvets as Nero in 1951’s Quo Vadis. Notably, this time around, we even see sharks within the Colosseum, a truly unexpected twist.
Paul Mescal takes center stage as Lucius Verus, the rightful heir to the Roman Empire. The character, son of Lucilla (Connie Nielsen), has a lineage that links back to the once-great Maximus Decimus Meridius (Russell Crowe), now a martyr for the empire he loved. As the grandson of Marcus Aurelius, Lucius was exiled in fear of his life, missing out on the imperial throne now fought over by the hedonistic dual emperors Geta (Joseph Quinn) and Caracalla (Fred Hechinger).
Denzel Washington’s character, Macrinus, provides a striking contrast; a former slave turned wealthy influencer, he possesses a deep interest in gladiatorial contests. He sees potential in the captured Lucius, invoking echoes of history without replicating the original film’s emotional beats. It’s a notable narrative shortcut that lacks innovation, as Lucius spirals into vengeance against General Marcus Acacius (Pedro Pascal, who portrays a character teeming with conflict and moral depth). Macrinus toys with Lucius simply for his own advantages.
Washington showcases a masterclass in delivery, transforming even weaker dialogues from David Scarpa’s script into something akin to Shakespearean verse. His performances resonate with a musicality, commanding each moment as if he were savoring the fine wine of power. His remarkable ability to embody the elegant artistry of Janty Yates and David Crossman’s stunning costumes breathes life into his character through unexpected physicality.
Mescal approaches Lucius with an intensity born of sleepless nights and simmering rage, layered with poetic insight—his affinity for Virgil’s The Aeneid speaks volumes. Although Mescal may not resonate with the immediate stardom of Crowe, he gracefully bears the weight of legacy and historical nuance, complementing Harry Gregson-Williams’s score, which adeptly references Hans Zimmer’s original work while introducing new moments of intense heroism.
Scott’s artistic philosophy often dismisses strict historical accuracy, preferring to use the past as a symbolic backdrop. The Roman Empire on display here may not be historically real, but it powerfully critiques how triumphs from ancient times have been distorted throughout modern history. Within this framework, Macrinus emerges as an outsider who infiltrates the elite, only to emulate their brutal tactics of domination.
True to form, Scott has no qualms about juxtaposing weighty themes with sheer entertainment, capturing scenes in which Mescal engages in bare-knuckle combat against a swarm of CGI-created baboons. One standout moment features a naval confrontation set within the Colosseum, complete with historical accuracy—minus the sharks—as the camera thrillingly follows the action. Quinn, Hechinger, and their mischievous pet monkey embody the chaos of youth as they portray the folly of mad emperors. Gladiator II, in sum, is a masterclass in grand filmmaking, reaffirming cinema’s capacity for spectacular storytelling.
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Dir: Ridley Scott. Starring: Paul Mescal, Pedro Pascal, Joseph Quinn, Fred Hechinger, Derek Jacobi, Connie Nielsen, Denzel Washington. Cert 15, 148 mins.
‘Gladiator II’ is in cinemas from 15 November
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