Tag: Gladiator

Gladiator II Review

Denzel Washington’s work in Gladiator II is so strong and he is so entertaining to watch that it’s a bit distracting. There are other distractions that are undoubtedly negatives like subpar CG baboons and the choice to fill the Colosseum with frickin sharks. With the two-time Oscar winner having a ball as an ambitious former slave turned gladiator manager, it made me want the movie to be trained more on him. Instead his Macrinus is trapped in a long gestating sequel to the 2000 Best Picture recipient that might not work much at all without him. It’s like if Denzel’s Alonzo Harris character in Training Day was dropped into a Fast and Furious flick. There’s plenty of fun to be had thanks to him, but it stalls when he’s not around.

Ridley Scott returns to the director’s chair for this follow-up set 16 years after Maximus (Russell Crowe) drew his brave last breath in Rome. The city is not in great shape although the expansive wide shots make it look breathtaking. Co-emperors Geta (Joseph Quinn) and Caracella (Fred Hechinger) are unstable rulers with a thirst for overpowering more territories. Caracella is also a syphilitic lunatic with a pet monkey he eventually empowers so that’s good for a couple of bonkers moments. The boys’ chief general is Acadius (Pedro Pascal) who’s married to Lucilla (Connie Nielsen). As you’ll recall, she is the sister to Gladiator‘s Commodus (Joaquin Phoenix) and former lover to Crowe’s Maximus. Acadius conquers, but he conquers with compassion (awww). He has plans to depose Geta and Caracella (and maybe that monkey) and return Rome to its former glory.

It’s not, I realize, an accident that it’s taken until paragraph 3 to mention the star of the movie. That would be Lucius (Paul Mescal). Introduced to us as Hanno, he’s living a seemingly pleasant laundry hanging life with his wife in the province of Numidia when Acadius and his army come a’conquering. His wife’s screen time is short-lived (just like Maximus’s in the original) and he’s soon vowing revenge on the Roman power structure. Lucius was a boy in the first film played by Spencer Treat Clark – son of Maximus and Lucilla who was sent away for his own protection. Maybe I should have said spoiler alert with the lineage reveal, but it’s right there in the trailer.

When Denzel’s Macrinus offers him a chance to achieve vengeance, Lucius is booked for battle in the same Colosseum like his departed dad. That brings us back to dodgy computer generated baboons and filling the iconic arena with sharks. Apparently water logged events did occur at that venue historically though the participation of the finned feeders was unlikely. The fights are more effective in Gladiator II on the human scale when they don’t involve aquatic or jungle creatures.

The film’s biggest flaw is that Mescal’s Lucius doesn’t have the screen presence that Crowe did. He’s not helped by the screenplay where he’s a bit of a blank slate. Maximus struck fear onscreen when he was unmasked and revealed as a super warrior. I didn’t buy it as much with his offspring when he comes out and plays.

Washington, though, is a blast as he schemes for power (and probably his 10th Oscar nomination). I’d offer that Gladiator II is worth watching for him. Yes, there’s plenty of impressive technical work and sometimes it elevates beyond a rehash of part 1’s beats (though often it doesn’t). Without Macrinus in attendance, the Colosseum would feel considerably emptier.

*** (out of four)

Gladiator II Box Office Prediction

Nearly 25 years after Ridley Scott’s original epic stormed the box office and the Academy Awards, Gladiator II enters cinematic arenas on November 22nd. Paul Mescal stars as Lucius, son of Russell Crowe’s Maximus with Scott back in the director’s chair. Costars include Pedro Pascal, Joseph Quinn, Fred Hechinger, Derek Jacobi, Connie Nielsen (back as the sister to Joaquin Phoenix’s departed Commodus), and Denzel Washington (generating Oscar buzz for his role).

With a reported budget north of $200 million, the long-in-development sequel should capitalize on a quarter century of goodwill from the Best Picture winning part 1. Reviews are decent with 75% on Rotten Tomatoes and 67 on Metacritic.

The $60-$75 million forecast for its debut sounds about right. I am hesitant to take the over as some viewers may wait until the following Thanksgiving frame to make the multiplex trek. I’ll put it in the upper end of that range for a second place showing to Wicked.

Gladiator II opening weekend prediction: $69.8 million

For my Wicked prediction, click here:

Wicked Box Office Prediction

For my Bonhoeffer prediction, click here:

Bonhoeffer Box Office Prediction

Oscar Predictions: Gladiator II

At the dawn of the 21st century, Ridley Scott’s epic Gladiator scored a colossal 12 Oscar nominations and won a handful including Best Picture, Actor (Russell Crowe), Costume Design, Sound, and Visual Effects. Other nods included Scott’s direction (he lost to Steven Soderbergh for Traffic), Supporting Actor (Joaquin Phoenix), and Original Screenplay.

Nearly a quarter century later, Gladiator II is in multiplexes November 22nd. Its battle for Academy recognition could be more challenging. Scott returns behind the camera with Paul Mescal leading a cast that includes Pedro Pascal, Joseph Quinn, Fred Hechinger, Connie Nielsen (reprising her role from part 1), and Denzel Washington.

As can sometimes be the case, initial screening reactions from the long-in-development sequel might have been a tad hyperbolic. The review embargo lifted today paints a clearer picture. The Rotten Tomatoes score is 78% with Metacritic at 67. Somewhat surprisingly, that’s in line with its predecessor’s numbers. Yet most critics say this doesn’t measure up to the original.

A Best Picture nom is not out of the question, but I’m currently projecting it won’t make the cut. Its strongest shot in BP will come if voters feel the need to throw at least a couple massive blockbusters in the mix. Dune: Part Two and Wicked (which opens the same day) could fit the bill. Mr. Scott’s direction and the screenplay are long shots. As for the down the line competitions, it could land mentions in Costume Design, Production Design, Sound, and Visual Effects. Original Score is possible but unlikely and I’d say the same for Cinematography. When it comes to wins in those tech derbies, it’ll have to contend with Dune which is in a better position for victories.

While Crowe and nemesis Joaquin Phoenix were both up for their performances at the 73rd ceremony, only Denzel Washington seems to be viable at the 97th. He’s being singled out for his work and could be headed toward nomination #10 in Supporting Actor. If he makes the final quintet, a win is probably not in the cards as I’d certainly put him behind Guy Pearce (The Brutalist) and Kieran Culkin (A Real Pain) at press time. My Oscar Prediction posts will continue…


Napoleon Box Office Prediction

After two decades plus, Ridley Scott reunites with Gladiator thespian Joaquin Phoenix in Napoleon. It rolls out November 22nd over the long holiday weekend. The historical epic about the legendary French commander costars Vanessa Kirby and Tahar Rahim. The Apple TV production is exclusive to theaters.

Once seen as an Oscar hopeful, the review embargo pretty much shut that down (save for perhaps some tech nods) as it stands at 61% on Rotten Tomatoes. With reactions all over the map (including a few which say it works best as a comedy), Napoleon will attempt to stand apart as an option for adults looking for Thanksgiving entertainment.

That strategy could mean a three-day gross in the high teens to low 20s as it hopes for $30 million or higher from Wednesday to Sunday. I’ll put Napoleon just short of that and certainly stronger than Scott’s 2021 box office bomb The Last Duel.

Napoleon opening weekend prediction: $18.2 million (Friday to Sunday); $28.5 million (Wednesday to Sunday)

For my Wish prediction, click here:

Wish Box Office Prediction

Oscar Predictions: Napoleon

Ridley Scott’s 2000 epic Gladiator was named Best Picture and costar Joaquin Phoenix nabbed his first Oscar nomination for Supporting Actor (he’d eventually get three more mentions and win for Joker). The duo have reunited for Napoleon (out November 22nd). Awards history repeating itself will be a tall order.

The review embargo is lifted with a current Tomatoes meter of 82%. While that’s decent, it’s currently under the 85% of Scott’s 2021 The Last Duel and that failed to attract any attention from the Academy. Scott’s biopic may suffer the same fate. One unexpected development? The number of critics saying it kind of works as a comedy.

Best Actor is probably too crowded for Phoenix to rise and I doubt costar Vanessa Kirby will be a factor in Supporting Actress. Tech nods could come with Production Design being the likeliest opportunity (Sound, Visual Effects, and Costume Design are also feasible). It could also go the way of Duel and come up empty-handed. My Oscar Prediction posts will continue…

Oscars: The Case of Paul Mescal in Aftersun

Paul Mescal’s big screen breakout work in the coming-of-age drama Aftersun is the next Case Of post for the Best Actor contenders.

The Case for Paul Mescal:

At age 27, voters took notice of the Irish thespian with nominations at BAFTA and Critics Choice. Expect to see a lot of Mescal in the coming years with potential awards hopefuls from Richard Linklater, Garth Davis, and a Gladiator sequel.

The Case Against Paul Mescal:

Another young performer – Austin Butler as Elvis – is picking up the bulk of precursor victories. Mescal didn’t make the cut at the Golden Globes or SAG. His placement for Aftersun marks the picture’s sole Academy nom. That’s typically not a recipe for an Actor victory.

Previous Nominations:

None

The Verdict:

Mescal should have more opportunities in the future. At the 95th Academy Awards, he’s probably fifth in the running for the aspiring quintet.

My Case Of posts will continue with Jamie Lee Curtis in Everything Everywhere All at Once!

If you missed my other write-ups on the Actors, click here:

Oscars: The Case of Austin Butler in Elvis
Oscars: The Case of Colin Farrell in The Banshees of Inisherin
Oscars: The Case of Brendan Fraser in The Whale
Oscars: The Case of Bill Nighy in Living

They/Them Review

John Logan’s directorial debut They/Them tries to mix social commentary with the slasher genre. The result doesn’t feel sharp or incisive and it especially doesn’t provide many scares. Logan has written many a screenplay (from Gladiator to The Aviator to Skyfall) and it’s a little shocking how much of a misfire this blend ends up being.

A group of teens and young adults arrive at the Whistler Camp run by Owen (Kevin Bacon) and wife Cora (Carrie Preston). It’s billed as a conversion camp for the LGBTQ community though Owen insists the experience is all about finding your true self. Their educational methods are soon discovered to be on the bizarre and barbaric side with non-binary Jordan (Theo Germaine) as the most vocal critic. Another skeptic is Molly (Anna Chlumsky), a newly employed nurse at the facility. She’s the only member of the staff not drinking the Kool-Aid.

In addition to the horror of Owen’s work, there’s a potential Friday the 13th situation happening with a masked killer on the grounds. That part of the storyline is put on the back burner mostly until the third act and the eventual twists are pretty obvious.

For the majority of its length, They/Them struggles mightily with its tone. We have glimmers of camp (including a cringe worthy Pink singalong) and then a therapy session that goes for Get Out vibes and fails. Some of the performances are decent. A small subplot about deeply closeted high schooler (Anna Lore) and her budding romance with the more confident Veronica (Monique Kim) might have been interesting in a different movie.

Despite the clever title with a double meaning (they slash them), the picture itself never solves its own identity crisis. By doing so, it certainly does a disservice to the issues it tries to explore.

*1/2 (out of four)

Oscar Predictions: They/Them

At first glance, even writing an Oscar predictions post for They/Them might seem a little silly. The slasher pic set at a conversion camp premieres on Peacock tomorrow and reunites Kevin Bacon with the bloody genre 42 years after Friday the 13th. 

It doesn’t seem as silly considering it’s the directorial debut of John Logan. He also serves as sole writer for the project and he’s a three-time Academy nominee for his penned works: 2000’s Gladiator, 2004’s The Aviator, and 2011’s Hugo. 

Yet despite his scripting a trio of Best Picture nominees, reviews for this Blumhouse produced offering are mixed at best. The Rotten Tomatoes meter is currently at 50%. That makes this equation simple as They/Them will nab as many Academy mentions as Friday the 13th. My Oscar Prediction posts will continue…

The Last Duel Review

Sword fights abound literally and figuratively in Ridley Scott’s The Last Duel, which finds the legendary director covering familiar red stained territory in a unique storytelling format. Based on a true incident that transpired in late 14th century France, Good Will Hunting scribes Matt Damon and Ben Affleck collaborate with Nicole Holofcener for this three tiered tale of a tragic crime mixed with a touch of black comedy. It explores the horrors of machismo at a time when women were seen as property by the standards of thought and law. The most fascinating aspect of the film (and most appalling) is that the three principals may truly believe they’re the victim, including two that should not.

Shot in gray with a focus on grey areas, Duel is fashioned into triangular chapters (from a novel by Eric Jager). Each outlines the plot from these perspectives: Jean de Carrouges (Damon), who fancies himself a brave and noble knight; the philandering squire Jacques Le Gris (Adam Driver) who has the ear of the authoritative and even more philandering Count Pierre d’Alencon (Affleck); and Jean’s educated and strong wife Marguerite (Jodie Comer). Jean and Marguerite’s marriage is one of convenience and real estate opportunities for the former. He also desires a male heir that Marguerite has yet to produce. Jacques, meanwhile, has access to influence that Jean doesn’t possess. When he becomes smitten with his friend’s bride, the power dynamic turns more dangerous.

An accusation of rape is made in an era when most women didn’t dare do so (made clear in a potent monologue by Jean’s emotionally barren mother played by Harriet Walter). 600 plus years ago, that meant Jean and Jacques would participate in the picture’s title if a trial permitted it (and allow for Scott to play in some Gladiator type set pieces). Where the screenplay derives some humor is that the two leading men seem convinced that they are the aggrieved party and are oblivious to the damage inflicted on Marguerite. As nearly every male character is given a chance to bask in his laurels, we detect plenty of side eyes from the women around them. I suspect those sharp edges come courtesy of Holofcener’s script portions.

The Last Duel is fueled by Comer’s central performance as a victim who spoke up centuries before hashtags existed. The struggles to hold her perpetrator responsible are both centuries old and of today. Didn’t she remark that he was attractive? Maybe her no was a yes and she enjoyed it. Damon and especially Driver add sturdy support and Affleck commands the screen in his relatively brief runtime (once you get past the odd looking wigs).

The chaptered structure is occasionally repetitive. However, by the time the literal swordplay commences, the time spent with the trio builds a sense of genuine tension. Marguerite will be punished by a grisly death unless Jacques succeeds. In other words, her words mean little and she must rely on her husband to determine whether her time is up. That’s the wound that cuts the deepest as we await their fates.

***1/2 (out of four)

Is Belfast Really the Best Picture Frontrunner?

It’s been a question nagging at me for a few days now. Is Kenneth Branagh’s Belfast truly the Best Picture frontrunner? I’ve had it ranked #1 for weeks and weeks. Yet I find myself moving away from it in other top of the line races. And that casts a shadow of doubt and a legitimate one.

Why? Let’s start with Best Director. I’ve never had Branagh listed in first place. That spot has mostly been held by Jane Campion for The Power of the Dog. I also believe Denis Villeneuve could be honored for Dune. And West Side Story holds the ability to make a real impact and that could sweep its maker (his name is Steven Spielberg) in. Even if Branagh doesn’t take the gold for his behind the camera work, that doesn’t eliminate Belfast for Pic contention. Those races often split (8 out of 21 times this century).

So let’s move onto its Original Screenplay. Up until the last few days, I had Belfast placed first there. However, I’ve replaced it with Paul Thomas Anderson’s Licorice Pizza. Once again, not winning screenplay doesn’t necessarily forecast losing Best Picture. That’s occurred six times in the 21 21st century ceremonies (including with last year’s Nomadland).

Here’s where it gets trickier. What’s the latest Best Picture winner to land the gold statue without a Director or Screenplay victory? That would be 19 years ago with Chicago. It happened two years prior to that with Gladiator. 

What do both of those films have in common? They both picked up another major award. For Gladiator, it was Russell Crowe in Best Actor. With Chicago – Catherine Zeta-Jones’s Supporting Actress win.

So if history is any guide, Belfast at least needs an acting win. That’s absolutely possible in either supporting race. I’ve had Caitriona Balfe at #1 for some time (while having her costar Judi Dench on the outside looking in). I’m not sure if she stays there when I do my update this week. Her biggest threat to lose could come from Ariana DeBose in West Side Story. I also wouldn’t count out Aunjanue Ellis for King Richard or Kirsten Dunst in The Power of the Dog.

Supporting Actor is wide open. Both Ciaran Hinds and Jamie Dornan’s performances in Belfast could make the cut. I don’t have either in first place. That slot belongs to Kodi Smit-McPhee for The Power of the Dog at the moment. Anything could happen in Supporting Actor and hopefully the picture becomes more clear as precursors bestow their best of’s. We could see contenders like Troy Kotsur (CODA), Mike Faist (West Side Story), Jared Leto (House of Gucci), or Bradley Cooper (Licorice Pizza) rise.

My point is this. The idea that Belfast doesn’t win Director, any acting race, or screenplay is quite feasible. If that occurs, how can it be considered the favorite for the biggest competition of the bunch?

Of course this post could be premature. Belfast could win Director, Original Screenplay, and podium trips for Balfe and probably Hinds over Dornan (or some combo of that). Or there’s the other scenario. If Licorice Pizza takes screenplay and the supporting prizes go elsewhere and a different filmmaker takes their race, Oscar night is more likely to end in a West Side story or with a Dog flexing power or with a Pizza delivery.