Are you not entertained? Staff Writer Mohamed Shafiullah reviews the long-awaited sequel, Gladiator II (2024).

Ridley Scott loves exploring the human experience throughout various eras of history, in stories illuminated by set design. From the sweeping narratives of his historical films like Kingdom of Heaven (2005), The Last Duel (2021), and Napoleon (2023), to the existential questions of life in the Alien franchise, Scott is as much a storyteller as he is meticulous with the films’ respective set designs. His films feature exuberant set pieces, like the iconic interior of the white ship in the Alien films, the neo-noir look of the city in Blade Runner (1982), and grand designs like the Battle of Austerlitz in Napoleon (2023). 

Scott’s latest directorial project, Gladiator II (2024), follows his cinematic patterns of sweeping visuals, blockbuster battles, and larger-than-life narratives. Like its prequel, Gladiator (2000), it is an underdog story (Maximus’ fight against tyranny and Lucius’s rebellion against an imposing Rome), and explores other themes of family, loyalty and revenge (Maximus seeks vengeance against Commodus and Lucius seeks revenge for the death of his wife). It also features grand set pieces, with the gladiator arena taking the mainstage for action. Naval battles, beast hunts, and bloody swordfights are shows of spectacles, where sharks, rabid baboons, and even a rhino come into play. Numerous wide shots, like the establishing shot of the flooded colosseum and the tracking shot of invading Roman ships, allow the expansive set pieces to breathe into the frame for us viewers to be amazed by.  

It is not only the production design that brings a certain flair to Scott’s films, where the tight corridors in Alien (1979) evoke fear, and the majestic colosseum in Gladiator II (2024) evokes awe (in fact, Scott wanted the production design for Gladiator II (2024) to be what his production designer Arthur Max terms as ‘Gladiator on steroids’). It is also the characters’ respective costumes. From the lowly plebians to the militaristic praetorians and political senators, Scott and his team put in much thought to bring the characters to life, through the variety of colours, shapes, and inscriptions of symbols. When Marcus Acacius (Pedro Pascal) is glorified and cheered on by the twin emperors for his military prowess and victories, the twin Pegasi embroidered on his robe in gold symbolises the majesty and beauty that the twin emperors celebrate him for. This plays ironically for the viewer, having seen the battle take place with savagery and brutality, as opposed to beauty and majesty.  

The cast played their roles well, with Pedro Pascal embodying an honorable and fierce general with quiet ease and Paul Mescal portraying a vengeful leading man with emotional grandiosity. But Denzel Washington outacts everyone in this film. Although I am no acting expert, Washington skillfully manipulated his physicality to demonstrate the depth of his character. From the twitching of his hands, the rubbing of his fingers, the darting of his eyes, and the effortless way he carried his role, it is clear that when an actor has fun playing their role, it reflects positively in their performance. 

Regardless of how entertaining his films are, Scott’s films may not be admired for their historical accuracy. In this film, a Roman nobleman can be seen reading a newspaper, although the printing press would not be invented until several centuries later. But if you love epics coupled with larger-than-life historical narratives, this film is a must-see!