GLADIATOR II (2024)

November 22, 2024

Greetings again from the darkness. Like many of you, I’m not usually a fan of sequels. Too often they feel like a money grab or an unapologetically opportunistic way to capitalize on previous success without much creativity or artistry required. Of course, there are exceptions. Sometimes sequels advance the story or offer additional development on an interesting character. So where does this one fit? It’s been almost a quarter-century since GLADIATOR (2000) received 12 Oscar nominations, winning 5, including Best Picture. The original is a film I revere. Director Ridley Scott is back at the helm, and at age 86, he proves he’s still a master of scope and scale and visceral action sequences.

Russell Crowe is not back for this one, and if you saw the first film, you understand why. Crowe is shown in a couple of flashbacks and is mentioned periodically. But this film belongs to Paul Mescal as Lucius, a natural leader and preternatural fighting soldier. That last sentence probably seems like a mistake to anyone who has seen Mescal in ALL OF US STRANGERS (2023), AFTERSUN (2022), or THE LOST DAUGHTER (2021). In each of those films, his talent and presence were obvious, yet he gave no indication of being able to play a tough warrior. After bulking up for the role, Mescal proceeds to step into movie stardom, as he truly commands the screen.

Much like Maximus (Crowe) in the first film, Lucius (Mescal) is forced into slavery, which translates into Gladiator training and fighting for Macrinus (two-time Oscar winner Denzel Washington). However, this comes after one of the most intense and ferocious opening battle scenes we’ve ever witnessed on screen. During this battle, Lucius’ wife Arishat (Yuval Gonin), a fierce warrior herself, is killed by the Roman General Acacius (Pedro Pascal, “The Mandolorian”), setting off grief and a thirst for revenge in Lucius. Once he’s witnessed Lucius fighting, the overly ambitious and conniving Macrinus pegs Lucius as driven by “the rage”, and sees him as a secret weapon in his quest for power.

Acacius turns out to be husband of Lucilla (Connie Nielsen reprising her role) and is hailed a Roman hero by the goofball twin emperors Geta (Joseph Quinn, A QUIET PLACE: DAY ONE, 2024) and Caracalla (Fred Hechinger, THELMA, 2024). Lucilla has maintained her clandestine connection to the council, led by Gracchus (a returning Derek Jacobi, now 84 years old). Political maneuvering and desire for power are at the forefront for most of these characters, yet it’s Lucius and his determination that harken back to the themes of the original … oh, and a very personal connection that most will have figured out from the trailer.

The Colosseum battles (and effects) are spectacular, and include a tribe of saber-toothed baboons, a giant and ferocious prehistoric rhinoceros, and a shiver (that’s what it’s called) of hungry sharks that appear once the Colosseum floor is flooded. There’s a certain satirical symmetry to using sharks to ‘jump the shark’. Although the sharks are a bit questionable (and likely not historically accurate), the best and most brutal fighting occurs mano y mano. Of course, we know that Lucius will get his shot at revenge, and maybe even redemption … the only questions are how and when.

Paul Mescal handles the role of Lucius with aplomb, and Denzel Washington appears to be having an extraordinarily good time as power-hungry Macrinus – a significant (and welcome) departure from his usual roles. Additionally, the technical aspects of the film are stellar. Ridley Scott brings back many of his previous collaborators from the 2000 film. John Mathieson is back as Cinematographer, while Arthur Max and Janty Yates return as Production Designer and Costume Designer, respectively. This sequel is co-written by David Scarpa and Peter Craig, and David Franzoni gets credit for his original characters. Arguments can be made both ‘for’ and ‘against’ the need for this sequel, especially since the look and tone are so similar to the original. However, very few can claim that this is anything but an entertaining spectacle loaded with stunning visuals – and a straightforward link to the original. The two films can rightfully claim strength and honor. It should be noted that Ridley Scott has already announced plans for a third film in the series, and by nature, I fall right back into my skeptical self, questioning the need.

Opening wide in theaters on November 22, 2024

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Posted by David Ferguson

NAPOLEON (2023)

November 21, 2023

Greetings again from the darkness. Ridley Scott long ago etched his name on the list of filmmakers whose projects are nearly always interesting and deserving of a watch. After all, he has helmed such beloved classics as ALIEN (1979), BLADE RUNNER (1982), THELMA AND LOUISE (1991), and Best Picture winner GLADIATOR (2009). Returning to the historical epic genre and working from a script by his ALL THE MONEY IN THE WORLD writer, David Scarpa, Scott takes on the life and legend of Napoleon Bonaparte. Of course, that legend is a bit conflicted since Napoleon and his bicorne hat remains a hero to France, yet something less to England.

With thousands of books written on Napoleon, most of us still possess only rudimentary knowledge of the man, even though we do understand his namesake ‘complex’. One would think a movie that spans a quarter century and runs 2 hours and 38 minutes in length would sufficiently fill in the gaps, but unfortunately the result is a fascinating mess that wows mightily with its battle scenes, while mostly falling flat in every other area. This is especially disappointing since the film tries to juggle Napoleon’s brilliance as a military leader, the muddled and complex politics of the era, and the strange obsession he held for Josephine de Beauharnais.

Oscar winner Joaquin Phoenix (JOKER, 2019) stars as Napoleon, and the exceptional Vanessa Kirby (PIECES OF A WOMAN, and The White Widow in the two most recent Mission Impossible movies) co-stars as Josephine. One can’t help but fear the effect had this film been made without two such talented leads. Still, at least for me, there was a cold disconnect with Napoleon and Josephine, as we never quite grasp his military leadership, nor her hold on him.

Director Scott kicks off the film by showing a bound Marie Antoinette (Catherine Walker) trudge through the angry masses on her way to the guillotine in 1789. Sound effects add to sense of realism, as does the executioner’s final act of display. After this chilling sequence, a young Napoleon goes on his quest for battlefield victories, military promotions, more power, and a male heir.

The battle scenes are truly epic and as spectacular as any we’ve seen on screen. Two particular standouts are the 1793 Siege of Toulon and the 1805 battle at Austerlitz. The first shows the brutality of war and gives us a glimpse of Napoleon’s renowned strategic expertise, while the second has some remarkable footage on (and under) the frozen lake. In between these two are bits from Napoleon’s conquests in 1798 Egypt and The Coup of 1799. Napoleon gains power with each step, and ultimately, his battlefield wins make him a hero at home where he ultimately claims the title of Emperor. Director Scott and Director of Photography Dariusz Wolski shine in this sequence and re-create the familiar Jacques-Louis David painting of the coronation.

Unable to produce a male heir, Josephine must be cast aside and divorced, although their letters to and fro make up most of the film’s structure of their relationship, even after divorce. The 1812 invasion of Russia is shown, as is Napoleon’s exile to the Isle of Elba, where he escapes after a year to reclaim his power in France. Of course, we do know how this ends, as the brilliant military strategist meets his literal Waterloo at the hands of the Duke of Wellington (Rupert Everett). His second exile to St. Helena concludes with his death at age 51 in 1821.

Ridley Scott’s director cut is rumored to be an additional two hours in length and is supposedly headed to AppleTV+ in January. Although that is an incredibly long run time, Napoleon’s short up-and-down life was filled with so many events (61 battles and more than 3 million deaths) and deserves a more complete telling than what this theatrical version offers. For those historians who are quick to point out inaccuracies, the well-known grump, Ridley Scott, has made his response to you quite clearly and succinctly.

Opens in theaters on November 22, 2023

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Posted by David Ferguson