Gladiator II

Years after witnessing the death of the revered hero Maximus at the hands of his uncle, Lucius is forced to enter the Colosseum after his home is conquered by the tyrannical Emperors who now lead Rome with an iron fist. With rage in his heart and the future of the Empire at stake, Lucius must look to his past to find strength and honor to return the glory of Rome to its people.

Credits: TheMovieDb.
Gladiator II
Overview:
Years after witnessing the death of the revered hero Maximus at the hands of his uncle, Lucius is forced to enter the Colosseum after his home is conquered by the tyrannical Emperors who now lead Rome with an iron fist. With rage in his heart and the future of the Empire at stake, Lucius must
Cast:

• Lucius Verus / Hanno: Paul Mescal
• Macrinus: Denzel Washington
• General Acacius: Pedro Pascal
• Lucilla: Connie Nielsen
• Emperor Geta: Joseph Quinn
• Emperor Caracalla: Fred Hechinger
• Viggo: Lior Raz
• Gracchus: Derek Jacobi
• Jugurtha: Peter Mensah
• Master of Ceremonies: Matt Lucas
• Ravi: Alexander Karim
• Arishat: Yuval Gonen
• Quaestor: Richard McCabe
• Thraex: Tim McInnerny
• Darius: Alec Utgoff
• Tegula: Rory McCann
• Bostar: Yann Gael
• Hyacinthia: Riana Duce
• Young Lucius: Alfie Tempest
• Lucilla’s Servant: Amira Ghazalla
• Centurion: Alexander Simkin
• Master of Ceremonies (Baboon Arena): David Ganly
• Governor (Baboon Arena): Richard Katz
• Noble Bedouin Woman: Amal Ayouch
• Agedilios: Hadrian Howard
• Gladiator: Chidi Ajufo
• Slovak: Lee Charles
• Glyceo: Christopher Edward Hallaways
• Phoebus: Chi Lewis-Parry
• Gnaeus: Ángel Gómez De La Torre
• Centurion (Lucius’ Arrest): Brahim Ait Ben Azzouz
• Centurion (Ostia): Maxime Rauf Ruijselaar
• Dorso: Dean Fagan
• Brennos: Tom Moutchi
• Macrinus’s Companion (uncredited): May Calamawy

Crew:

• Director of Photography: John Mathieson
• Original Music Composer: Harry Gregson-Williams
• Production Design: Arthur Max
• Producer: David Franzoni
• Military Consultant: Paul Biddiss
• Costume Design: Janty Yates
• Producer: Michael A. Pruss
• Special Effects Technician: Neil Corbould
• Sculptor: Roberto Bolea
• Assistant Art Director: Sara Taddei
• Set Decoration: Elli Griff
• Second Second Assistant Director: Conor Feltham
• Third Assistant Director: Eamonn Cawley
• Executive Producer: Aidan Elliott
• Executive Producer: Walter F. Parkes
• Second Assistant Director: Tarik Ait Ben Ali
• Co-Producer: Winston Azzopardi
• Executive Producer: Laurie MacDonald
• Second Assistant Director: Oana Ene
• Executive Producer: Raymond Kirk
• Assistant Director: Dylan Henricson
• Set Production Assistant: Diara Vassallo Ndiaye
• Third Assistant Director: Krishan Sharda
• Production Assistant: Charlotte Weston
• Second Assistant Director: Jaafar Ameur
• Editor: Claire Simpson
• Casting: Salaheddine Benchegra
• Assistant Director: Vanluke Watson
• Set Production Assistant: Rafael Salazar
• Third Assistant Director: Mohammed Hamza Regragui
• Second Unit First Assistant Director: Nick Thomas
• Third Assistant Director: Kieron Walshe
• First Assistant Director: Ben Burt
• Third Assistant Director: Callum Dawson
• Third Assistant Director: Conor Flannery
• Second Assistant Director: Dan John
• Location Manager: Yann Mari Faget
• Assistant Editor: Roddy McDonald
• Music Editor: Tony Lewis
• Casting Assistant: Saïd Aamoum
• Second Unit Director of Photography: Katie Swain
• “B” Camera Operator: Chris Plevin
• Assistant Editor: Stefano De Marco
• First Assistant Editor: Danielle El-Hendi
• Location Manager: Curtis Burrell
• Costume Assistant: Rupert Steggle
• Costumer: Emma-Louise Ryan
• Costume Assistant: Emma Rawnsley
• Location Assistant: Taha Drissi
• Textile Artist: Tamsyn Lee Wilson
• Costume Set Supervisor: William Steggle
• Location Manager: John David Gunkle
• Costume Assistant: Alesha Mitchell
• Assistant Costume Designer: Claudio Manzi
• Location Manager: Johnny Hopkins
• Costume Assistant: Angeliki Michaelidou Matsi
• Costume Set Supervisor: Hassan Taghriti
• Assistant Costume Designer: Melissa Moritz
• Unit Manager: Malcolm Ellul
• Assistant Unit Manager: Georgia Jones
• Costume Assistant: Anna Izquierdo
• Dolly Grip: Donavan Gallagher
• Casting Coordinator: Brenda Camilleri
• Video Assist Operator: Youssef Mohattane
• Gaffer: Driss Marzak
• Video Assist Operator: Jack Kelly
• Camera Operator: Benjamin Borg Cardona
• Drone Operator: Aerial Malta
• Digital Imaging Technician: Ryan Gatt
• Focus Puller: Keith McNamara
• Lighting Technician: Adrian Sworn
• Rigging Grip: Hassan Hajhouj
• Costumer: Samuela Galea
• Costume Supervisor: Amelia Bianchi
• Casting Coordinator: Hamid Ait Timaghrit
• Dolly Grip: Massimo Rinella
• “C” Camera Operator: Richard Philpott
• Still Photographer: Aidan Monaghan
• Key Rigging Grip: Maverick Debono
• Video Assist Operator: James Culloty
• Costume Assistant: Othmane Ajana
• Gaffer: Lee Knight
• Drone Operator: Mario Demanuele
• Assistant Costume Designer: Stella Atkinson
• Casting Assistant: Kate Edmonds
• “A” Camera Operator: Pete Cavaciuti
• Data Management Technician: Jake Bennett-Young
• Rigging Gaffer: Yassine Abounouom
• Camera Operator: Ciro Candia
• Camera Trainee: Gabriel Bucher
• Key Grip: Dave Wells
• Camera Trainee: Kenza Tazi
• Camera Operator: Basil Smith
• Costumer: Craig Anthony
• Digital Imaging Technician: Gastone Ferrante
• Video Assist Operator: Amadeo Bezzina
• Camera Operator: Amine Boudour
• Best Boy Grip: Gordon Borg
• Stunt Double: Aurélia Agel
• Stunts: Younes Afroukh
• Stunts: Victor Aquilina
• Unit Manager: Matthew Camilleri
• Stunts: James Apps
• Stunts: Steve Abela
• Stunts: Tarik Belmekki
• Stunts: Daniel Carrión
• Stunt Double: Dylan Jones
• Stunts: Maureen Lavoyer
• Stunts: Rob Pavey
• Stunts: Aitoufqir Rida
• Stunts: Vasil Simeonov
• Stunts: Justin Sysum
• Stunts: Keith Ward
• Stunts: Richard Hall
• Stunt Double: Harry Makanga
• Stunts: Lucas Breathnach
• Stunts: Florine Silva
• Stunt Double: Clay Donahue Fontenot
• Stunts: Paul Burke
• 3D Artist: Reetu Aggarwal
• Stunts: Alexander Bracq
• Stunts: Ryan Busuttil
• Stunts: Chris Hallaways
• Stunts: Grégory Nolbas
• Stunt Double: Michael Oladele
• Stunts: Peter Syckelmoore
• Stunts: Radoslav Ignatov
• Stunts: Pablo Márquez
• Stunts: Laurent Plancel
• Stunts: Peter White
• Stunts: Genadiy Ganchev
• Stunts: Philip McDean
• Stunts: Viktor Hristov
• Stunts: Othman Ilyassa
• Stunts: Vitas Le Bas
• Stunts: Mark Mallia
• Stunts: Morgan Chetcuti
• Stunts: Adam Behan
• Stunts: Tony Christian
• Stunts: Alard Hufner
• Stunts: Faisal Mohammed
• Stunts: Phillip Ray Tommy
• Stunt Double: Zach Roberts
• Stunt Double: Harvey Taylor
• Stunts: Vencislav Stojanov
• Stunts: Peppijna Dalli
• Stunts: Will Mackay
• Stunts: Roberto Dias McCarthy
• Stunts: Abdellah Ouksih
• Stunts: Chris Pace
• Stunt Double: Andrej Riabokon
• Stunts: Elmo Walker
• Stunts: Ivan Iliev
• Stunts: Lucky Johnson
• Stunts: Hayden Grech
• Stunts: Mike Snow
• Assistant Art Director: Sven Bonnici
• Standby Property Master: Youness Benbakrim
• Painter: Giuseppe Cafagna
• Assistant Art Director: Branislav Dimov
• Visual Effects Compositor: David Schott
• Art Department Coordinator: Laila Ait Oujamaa
• Art Direction: Charlo Dalli
• Special Effects Technician: Adrian Nica
• Special Effects Technician: Will Harvey
• Stunts: Ramon Álvarez
• Set Decoration Buyer: Tarik Amchemar
• Set Decoration Buyer: Molly Blake
• Assistant Art Director: Cesco Bonello
• Visual Effects Supervisor: Ed Bruce
• Visual Effects Compositor: Bilal Terrar
• Special Effects Coordinator: Zuzana Milfort
• Property Master: Garry Dawson
• Construction Coordinator: Olivia Carney
• Stunt Coordinator: Natalie Wright-Cella
• 3D Artist: Zoltán Lányi
• 3D Artist: Máté Vörös
• Special Effects Technician: Adam Howarth
• Stunts: Vasil Yordanov
• Visual Effects Producer: Edward Randolph
• Special Effects Technician: Justin Montebello
• Assistant Art Director: Andrea Arces
• Scenic Artist: Lino Chetcuti
• Set Dresser: Archie Cook
• Stunts: Richie Wilson
• Animation: Wayne Simmons
• Special Effects Technician: Mike March
• Special Effects Assistant: Gavin Kidner
• Visual Effects Editor: Michael Cheung
• Visual Effects Compositor: Luke Armstrong
• Assistant Art Director: James Laing
• Assistant Set Decoration: Candice Marchlewski
• Assistant Art Director: Dániel Miklós
• Assistant Art Director: Nikolai Nikolov
• Set Designer: Ana Saric
• Assistant Set Decoration: Mojca Crnic
• Assistant Art Director: Ana Martínez Fernández
• Set Dresser: Piotr Micyk
• Assistant Set Decoration: Alexander Simkin
• Supervising Art Director: Tamara Marini
• Assistant Art Director: Chris Straessle
• Unit Production Manager: Darren Chesney
• Assistant Art Director: Damián Galán Álvarez
• 3D Artist: Krstic Milan
• Props: Abdenabi Izlaguen
• Set Decoration Buyer: Betane Driss
• Assistant Set Decoration: Nathan Elliott
• Assistant Set Decoration: Isabella Faull
• Construction Manager: Dylan Gouder
• Standby Property Master: Kenrick Ruthven
• Concept Artist: Jessica Sinclair
• Makeup Artist: Lisa Pantaleoni
• Painter: Markus Ruiz
• Scenic Artist: Julie O’Connor
• Unit Manager: Sam Courtnage
• Hairstylist: Said Lachkar
• Assistant Set Decoration: Sonja Nenadić
• Assistant Set Decoration: Ellie Pash
• Assistant Set Decoration: Aoife Power
• Art Department Coordinator: Natali Shershulskaya
• Production Manager: Nath Rodriguez
• Concept Artist: Kim Frederiksen
• Makeup Artist: Elizabeth Eva Hedley
• Makeup Supervisor: Charlie Hounslow
• Hairstylist: Hamdan Malika
• Hair Supervisor: Kerstin Weller
• Hairstylist: Daniele Fiori
• Hairstylist: Nicola Griguoli
• Makeup Artist: Luca Mazzoccoli
• Unit Manager: Rasul Kalyayev
• Makeup Designer: Jana Carboni
• Hairstylist: Eva Fernández
• Costume Design: David Crossman
• Set Dresser: Raja Achoukhane
• Sculptor: Vjekoslav Filipovic
• Sculptor: Rino Banko
• Casting: Kate Rhodes James
• Editor: Sam Restivo
• Painter: Mohamed Bouhadra
• Greensman: Roger Holden
• Supervising Art Director: David Ingram
• Painter: Aomar Hessaini
• Art Direction: Laura Miller
• Art Department Coordinator: Francesca Birri
• Special Effects Technician: Charles Montebello
• Special Effects Technician: Joe Montabello
• Costume Coordinator: Elena Rotatori
• Special Effects Technician: Robert Grech
• Special Effects Supervisor: Kenneth Cassar
• Special Effects Technician: Lawrence Attard
• Assistant Art Director: Emanuela Piu
• Sculptor: Danijel Mataija
• Boom Operator: Josselin Panchout
• Fight Choreographer: Cali Nelle
• Sound Mixer: Stéphane Bucher
• Special Effects Technician: Karl Brincat
• Assistant Art Director: Melkior Serdarevic
• Painter: Samah Saoui
• Special Effects Technician: Tibor Skornyak
• Assistant Costume Designer: Maurizio Torti
• Special Effects Coordinator: Graziella Cassar
• Stunts: Ayesha Hussain
• Stunts: Bogdan Kumšackij
• Story: Peter Craig
• Story: David Scarpa
• Post Production Assistant: Fabrizio Fenech
• Set Decoration: Jille Azis
• Producer: Ridley Scott
• Assistant Art Director: Dario Nolé
• Stunts: James Offield
• Visual Effects Supervisor: Mark Bakowski
• Producer: Douglas Wick
• Producer: Lucy Fisher
• Main Title Designer: Matt Curtis
• Vocals: Lisa Gerrard
• Utility Sound: Nouhayla Ayari
• Utility Sound: Luke Brickley
• Foley Artist: Peter Burgis
• Sound Re-Recording Mixer: Matthew Collinge
• Sound Designer: Paul Carter
• Utility Sound: Jonathan d’Alessandro
• Sound Designer: Michael Fentum
• Dialogue Editor: Aleksey Kuznetsov
• Boom Operator: Stephane Malenfant
• Sound Re-Recording Mixer: Paul Massey
• Foley Editor: Joe O’Halloran
• Sound Effects Editor: Rob Prynne
• Sound Designer: Alyn Sclosa
• Supervising Sound Editor: Danny Sheehan
• Sound Effects Editor: Rob Turner
• Boom Operator: Mohamed Waaziz
• Sound Designer: Rowan Watson
• Foley Artist: Anna Wright

Catogories:

My astonishing mom says this plugin is interesting!

Prepare to be entertained.
Language:
English
Production:
United States of America
Company:
Paramount Pictures,Red Wagon Entertainment,Parkes+MacDonald Image Nation,Scott Free Productions
Popularity:
1275.723
Date:
2024-11-13
Year:
2024

• Manuel São Bento: FULL SPOILER-FREE REVIEW @ https://talkingfilms.net/gladiator-ii-review-a-legacy-sequel-that-triumphs-through-spectacle-and-emotion/

  “Gladiator II may not achieve the groundbreaking impact of the original film, but it remains an impressive cinematic experience, transporting audiences into an epic filled with emotional and visual grandeur.

  Ridley Scott once again showcases his mastery in blending narrative, action, and thematic depth, delivering a sequel marked by superb technical execution and standout performances, particularly from Denzel Washington. Despite the inevitable comparisons to the classic, the iconic filmmaker presents a story that justifies its existence, even if it treads familiar ground.

  Necessary or not, what truly matters is the strength (and honor) with which a work captivates us – and here, Gladiator II triumphs.”

  Rating: A-

• Dean: Another Woke movie from Hollywood. There were never black (African) emperors in Roman empire… This movie is simply false propaganda.
• griggs79: _Gladiator II_, a polished echo of the original, is a testament to Ridley Scott’s cinematic powers. It follows his hit-and-miss _Napoleon_ biopic last year, which was rather miss than hit. The sequel captures the original’s essence while introducing elements, making it a worthy successor.

  Paul Mescal in the lead role – inherited from the ever-growling Russel Crowe, who was at the top of his career in the original – holds his ground against Denzel Washington, whose charisma cleaves through the screen as effortlessly as his character’s sword.

  Ridley Scott admits he was prompted to revisit _Gladiator_ by the acclaim he received from those too young to have seen the original on the big screen. His mission to lure Gen Z away from their streaming devices may help to save cinema, ushering in a new era of appreciation for the big screen. But for the love of Jupiter, I hope they quickly learn that it isn’t just a big iPad with comfy chairs. No pausing, swiping, mid-film selfies, dashes to the bar, or running commentary required. Screen four at your local cinema isn’t the Colosseum but a place where the magic of film of this scale truly comes alive, offering a unique and immersive experience that can’t be replicated at home.

• r96sk: ‘Gladiator II’ is awesome!

  I only watched the original three years ago, almost to the day in fact, but I was anticipating this follow-up after thoroughly loving the Russell Crowe film. Honestly, I think I kinda enjoyed this sequel more – at worst, the two are on the same level, for me anyway. Crowe is missed, though everyone in this movie more than makes up for his (obvious) absence.

  This is the first time I’ve seen Paul Mescal act, despite knowing of him for quite a while now. I’m impressed! He delivers a showing of great strength (pardon the pun). Pedro Pascal is very good too, as is Joseph Quinn; I wasn’t instantly sold on the latter when he appeared onscreen, though when all is said and done I rate his performance positively.

  Denzel Washington… what a geezer. I’ll never tire or turn down the chance at seeing that man act. Needless to say, given he’s one of two favourite actors of mine, I loved his performance all the way through. The likes of Fred Hechinger and Connie Nielsen merit fair praise as well, interesting to see Rory McCann and Matt Lucas in there too.

  Oh, and the score… superb! Deafeningly grand.

• CinemaSerf: Sixteen years after “Maximus” (Russell Crowe) bit the dust, we find ancient Rome under the control of twins “Geta” (Joseph Quinn) and his brother “Caracalla” (Fred Hechinger) and thanks to their general “Acacias” (Pedro Pascal) continuing to expand their empire. It’s this latter man who leads an attack on the home “Nanno” (Paul Mescal) shares with his wife “Arishat” (Yuval Gonen). That doesn’t go so well and next thing, she’s gone on ahead of him to the wheat fields and he’s now a slave owned by the manipulative “Macrinus” (Denzel Washington) heading to the Colosseum to entertain the emperors and their cousin “Lucilla” (Connie Nielsen). What now ensues is a well produced and good looking rehash of the first film paying homage en route to “Spartacus” and it’s the sheer predicability that I struggled with. It’s episodically delivered with far too much script and though Mescal tries hard, his performance is largely charm-free and as wooden as a rudius, especially once the rather far-fetched familial back-story has been established. Sir Derek Jacobi sparingly appears as the other survivor from 2000 reprising his role as the senator “Gracchus” but to no real effect and the scene stealer for me is really only the megalomanic Quinn’s imperial offering as he and his bonkers sibling teeter on the brink of inbred, sexually fluid, madness. Washington does well enough as the scheming slave-master, but he hasn’t really enough to work with to stand out amongst what really are a mediocre collection of undercooked characters that just don’t deliver any real sense of the hedonism and menace of this debauched and corrupt state. As with Sir Ridley Scott’s “Kingdom of Heaven” (2005) the battle scenes are superb and action packed, as are the combat scenes in the vast marble auditorium filled with baying plebs and rhinos, but I am afraid that the shallow characterisations just didn’t work well enough to keep this engaging and the plot was just too thin to stretch over a couple of hours that could have been so very much better. It really does need a big screen to appreciate the creatively crafted visuals, but I was still pretty disappointed, sorry.
• DWP: Comparisons will be inevitable and Gladiator II will never be as iconic as the 2000 classic. However it is very good, strong all-around with gripping action and a well executed script. Performances are very good, with some pleasant surprises.
• Chris Sawin: 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.

• GenerationofSwine: pssst…. it’s woke, but that’s no surprise.

  What is a surprise is that people are giving spoiler alerts. I don’t understand why. Like so many movie squeals and reboots what you have here is Gladiator with everything intelligent and entertaining sucked out of it. So it’s the same movie, but shorter. There are two emperors rather than ones. Rome is falling, but not from the debauchery, intellectual laziness, and over stretched militarism that really caused it’s fall… that would be anti-woke to point out it collapsed for all the reasons they love. Instead some lazy leftism the right is evil crap, peppered with fiery but mostly peaceful protests blamed on the thinly veiled reference to Trump. Might as well have the baddies wear red hats that read “Make Rome Great Again.”

  With lectures. And I don’t need to go over the political lectures, they are all the same. Woke Hollywood is predictable and best described as “The Who to Hate Network.”

  The worst part is Denzel, I mean I know he still needs to work, but come on man, you’re better than this.

• MovieGuys: Are you not entertained? Well, quite frankly, no….

  Gladiator II or Gladiator lite as I like to call it is the “essentials” brand version of Gladiator. You know like, the “essentials brand” of underpants as opposed to known brands like Bendon or Jockey. They do the job, they’re okay but still the brand names are just “better”.

  Gladiator lite (II) mimics its predecessor but its predominantly just a bare essentials remake of a superior, original film. The story is a rather basic “almost” version of the year 2000 film starring Russell Crowe, the protagonists more or less fill the same or similar roles and well, that’s about it. Oh but for a dash of difference, they do have CGI sharks, monkey’s and rhino’s, if, for whatever weird reason, that’s your thing.

  In summary, this is really just a rather uninspiring “almost” facsimile, of a vastly superior, original film. Its not bad as such, its just feels like a beige re-run of sorts, that need not have been made.