Gladiator II is an efficient-enough remake-cum-sequel, but contains no useful insight into war and empire, finds Lucy Nichols

Ridley Scott’s Gladiator II is exactly what you expect out of an action film. It is violent, gory, masculine, and doesn’t even come close to passing the Bechdel test. Perhaps the perfect Hollywood blockbuster?

We are firmly in the era of the franchise, the sequel, and the remake: why make an original film when you know you can make more money by bringing back an incredibly popular film, and engage the same fanbase? Gladiator II toes the line between sequel and remake, landing astonishingly close to the plot of the first film, released in 2003.

A mopey, incredibly muscular, tragic hero is thrust by war into horrific circumstances and forced to save his own life by killing other people. He is more than a fighter, but is spurred on by big dreams to make the world a better place for all of Rome’s downtrodden. Emperors must be overthrown and power must be won for the sake of Rome, et cetera, et cetera. Copy and paste: replace Maximus Decimus Meridius (Russel Crowe) with Hanno (Irish heart throb, Paul Mescal, Normal People) and you have Gladiator II.

Meanwhile, we see the machinations of Hanno’s wealthy sponsor, Macrinus (Denzel Washington) as he undermines and exploits cowardly Senators and foolish Emperors to solidify his own grasp on power. Pedro Pascal (The Last of Us, the Mandalorian) plays a successful general: Acacius is a ‘hero of Rome’ who conquers for the Roman Emperors but laments at their tyranny. With his wife Lucilla (Corianne Nielsen), daughter of Marcus Aurelius from the original, he eventually hatches a plot to overthrow the twin Emperors Geta (Joseph Quinn) and Caracalla (Fred Hechinger). Hanno’s tragic backstory is revealed as he comes to terms with his new reality as a gladiator in the heart of the empire he so hates.

Though a lot takes place in the 2.5 hour-long film, events that would be key plot points in any other film are squashed together in Gladiator II. Scott tries to do too much in too little time and the film therefore loses some of its awe-inducing drama. The film is more or less chronological, with a few flashbacks to the character’s pasts, and a few clips from the original film.

It is visually impressive, especially so at the cinema. Huge colosseums were actually built to a 1:1 scale, and there is minimal CGI – although the CGI that does appear feels dated. A meticulous attention to detail has been paid to setting and mise-en-scène.

The cinematography and lighting aimed to create shots that are decadent, gaudy and reminiscent of Las Vegas, according to an interview with cinematographer John Mathieson. There are a couple of instances of black and white, that are at best interesting and at worst out of place.

The costume is stunning, especially that of the emperors. The twin tyrants are doused in ghostly white make up, elaborate fabrics, and gold. Their despotism and cruelty are hidden behind immaculate robes, and pox scars behind white make-up. A sharp contrast to the filth-covered beggars left to rot on the outskirts of Rome.

Caracalla and Geta are interesting characterisations of the ‘despot ruler’ trope. They are one-dimensional and evil, committed to expanding their already vast empire, ordering General Acacius to conquer Persia and India. When Acacius argues that an empire as vast as Rome’s must be fed, Caracalla, the madder of the two brothers, tells his subordinate to ‘let them eat war’.

Gladiator II focuses on the hedonistic cruelty of the Roman ruling class, for whom violence is mere entertainment and killing brings them closer to ultimate power. The vastness of the Roman Empire is reflected in the hoarded wealth of the emperors. Wild animals from across their dominion are brought to Rome for use in the colosseum or to be served at feasts. ‘Barbarians’ and foreigners are allowed to climb up the social ladder, while members of the ruling class are struck off and murdered.

At a time where the utter devastation of war is clear for all to see in Gaza and Ukraine, a film as gory as Gladiator II is difficult to watch, especially given its grandiose monologues about the need for equality and an end to the despotism of the Roman ruling class.

A liberal might argue that the orange hair and unnatural complexions of the twin Emperors is a nod to President-elect Donald Trump. Ridley Scott responded to a question about links to the 2024 US Election: ‘A billionaire wants to be the leader of the universe! Evil is evil. A sword will kill you just like an atomic bomb will kill millions. Death is death and where we are together today [as a society] we’ve really got to rein it and sort it out.’

A more committed Marxist may want to link the ruling class of Gladiator II to today’s ruling class, or the Roman Empire to the American Imperial project. This doesn’t really work.

In truth, this is an action film created to make huge amounts of money for its sponsors, and it will succeed in this goal – just as Hanno the Gladiator does for Macrinus. Gladiator II does not say anything particularly insightful about the evils of empire, but is truly American in its liberal attitude to the glory of fighting and dying for one’s freedom.

If you like the action genre, this film is worth seeing. If you’re after an insightful critique of imperialism, better to look elsewhere.