4K UHD review by John Larkin
GLADIATOR II 4K UHD + Blu-Ray + Digital can purchased at retailers everywhere and by clicking the image above!
The original GLADIATOR (2000) remains one of my all-time favorite films, a true masterpiece of the sword-and-sandal genre. While the sequel somewhat pales in comparison to the iconic original, it still manages to stand as a great old-school epic in its own right. The film delivers grand spectacle, thrilling action and a compelling narrative, all of which are elevated even further by the phenomenal 4K UHD presentation.
The image and sound quality on this disc are nothing short of reference-grade—stunning in their detail and clarity. Watching it made me realize just how poor the theatrical projection was when I originally saw the film. Unfortunately, this serves as yet another reminder of why home viewing is becoming increasingly preferable to the traditional theater experience - you don't always know what you're getting into when venturing out to visit certain modern movie theaters.
Paramount continues to set the standard for high-quality disc transfers, and this release stands out as one of the most visually breathtaking I have encountered in recent memory.
That said, I do have some specific issues with the film, which I wrote about in my original review upon its theatrical release last year. While certain aspects left me feeling conflicted, there’s no denying that it remains a thoroughly entertaining and visually striking piece of cinema. I’m genuinely glad to have it as part of my collection, proudly displayed alongside the original GLADIATOR 4K on my shelf.
This release is packed with some new special features including:
A Dream That Was Rome: Origins—Director Ridley Scott and producers delve into the history behind Gladiator II and how the story developed over many years before coming to the screen.
What We Do In Life Echoes In Eternity: The Cast—Take an inside look into Ridley Scott's casting process.
In The Arena: Filmmakers—Go behind the scenes as the cast and crew journey to Malta, Morocco, and the UK for the epic production.
To Those About To Die, We Salute You: Combat—Discover how Ridley Scott and his team combined choreographed combat with cutting-edge visual effects to take the action to a whole new level.
Building An Empire: Post-Production—Join the filmmakers for insights into the fascinating process of crafting the finished movie, which includes a scoring session led by composer Harry Gregson-Williams.
The Making Of Gladiator II—Explore how Ridley Scott, the cast, and crew worked to bring Gladiator II to life.
Deleted Scenes
My original spoiler-filled review below:
"Lucius is safe," whispers Maximus Decimus Meridius right before taking his last breath at the end of GLADIATOR (2000). Well, apparently, Lucius was far from it.
As revealed midway through the highly anticipated sequel via flashback, Lucius—the child of Maximus (Russell Crowe) and Lucilla (Connie Nielsen)—was secretly whisked away to an unknown location mere seconds after Maximus' body was carried out of the Colosseum. Lucilla, now free of her deranged brother Commodus (Joaquin Phoenix), hands him off to Centurion guards and tells her son—the one she loves most in the world—that she must stay behind.
This plot contrivance was hard for me to accept. While I appreciate the choice to have Lucius continue and fulfill Marcus Aurelius' dream of Rome, carrying on Maximus' legacy, this particular explanation felt forced. After all, as Maximus chided Proximo in the original GLADIATOR, this is not it. This is NOT IT.
I struggle to believe that Lucilla, who cared for Lucius with the full depth of a mother's love, would abandon her son and claim that sending him away was the safer option. If Lucius was in danger, wouldn’t she be as well? Why not flee together and protect each other? The optics become comically bad when Lucius later returns to Rome and finds his mother living a lavish lifestyle, now romantically involved with Rome's next most eligible bachelor general.
Maximus' entire arc—rising from slavery to heroism, freeing Rome from the corrupt Emperor Commodus, and ensuring a safe future for Lucilla and Lucius—is completely undone by this flimsy explanation of what transpired after GLADIATOR's events.
Going into the film, I already knew Paul Mescal was playing the older Lucius (originally portrayed by Spencer Treat Clark), so I was surprised that the film presents this detail as a dramatic slow reveal. It packed little emotional punch watching other characters discover something the audience already knows or at least strongly suspects. Coupled with the flawed reasoning for his disappearance, it created a frustrating film logic nightmare.
I also can't help but wonder how Spencer Treat Clark feels, knowing that the character he originated now has a starring role in a massive big-budget sequel. There's been some outcry over the recasting, with Ridley Scott defending his decision by pointing out that Clark is now eight years older than Lucius should be in this film. But let's be honest—the real reason is clear. The studio needed a bigger name to headline the production, and Clark simply didn’t have the same box-office draw as Mescal. That said, I would have loved to see Clark return for authenticity’s sake.
GLADIATOR II tries hard to echo the spirit and conflicts of the first film, and while it succeeds in delivering an enjoyable spectacle, its many flaws make comparisons to the original inevitable. Ridley Scott’s current filmmaking process is notoriously fast—he now shoots with 11 digital cameras simultaneously, capturing scenes from every angle in a single take. While this method is efficient, it undeniably affects the film’s quality. Despite the return of the brilliant cinematographer John Mathieson, most of GLADIATOR II looks just fine. Not stunning. Not indelible, like the imagery that made the original so iconic. I can't help but think this is due to the rushed production—the entire shoot only took 50 days.
That said, the film remains a fun, action-packed, old-school sword-and-sandals epic. While die-hard fans of GLADIATOR may wrestle with its narrative choices, most audiences will likely enjoy it for the spectacle it delivers.
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