Gladiator II
ローマ帝国が栄華を誇った時代―。ローマを支配する暴君の圧政によって自由を奪われたルシアスは、グラディエーター（剣闘士）となり、コロセウム（円形闘技場）での闘いに身を投じていく。果たして、怒りに燃えるルシアスは帝国への復讐を果たすことができるのか。
stuhannafordさんがレビューしました
2025年5月27日•
It passes a couple of hours, it isn’t a dreadful movie, but the weight of expectation makes it feel such a let down. Standing beside the original, it feels little more than a grand, heavy handed cash in. On its own, it’s perhaps a Hollywood blockbuster, that will live in the memory for a summer and nothing more.
The subtleties of the original are replaced by bombastic moments that fail to land. It is at times, an almost play for play reenactment, with small variations, to trick you into believing it’s an original story. Almost every character a substitute with a new name, each with added ‘drama’. Each scene has a touch of, ‘do kind of what we did before, but bigger, bolder and louder’… or just add a shark. Where we once watched Phoenix announce himself to the world with a performance of a complex man child, fighting to disprove his fathers beliefs, only to compound them, we now get subjected to one dimensional, petulant school kids with zero character or charisma. Maximus, a man you would happily follow into war yourself, now little more than a sulky chap with a chip on his shoulder. The intricacies and intelligence of the battles and fights, now just the standard run of the mill CGI scenes that could be plucked from a list of modern movies. The same classic score is used over and again, but added for nostalgia rather than effect, and doesn’t fit. Pascal and McInnerny are the only actors to forge their own way and really hold their own. Even Washington, a great actor by any standard, is hampered by problems, some within his control (the American accent jars), but mostly out… the odd, loud declaration of his sexuality during his first on screen meeting with McInnerny, feels forced and unnecessary. The performances of two outstanding professionals make this abundantly clear, but it’s as if the writers sat down and said, ‘are we sure we’ve hit our inclusivity targets? Let’s add a line just to make sure.’ And it’s these sledgehammer moments throughout, that reduce the project to ‘meh’ rather than ‘yeah!’
stuhannafordさんがレビューしました
2025年5月27日•
It passes a couple of hours, it isn’t a dreadful movie, but the weight of expectation makes it feel such a let down. Standing beside the original, it feels little more than a grand, heavy handed cash in. On its own, it’s perhaps a Hollywood blockbuster, that will live in the memory for a summer and nothing more.
The subtleties of the original are replaced by bombastic moments that fail to land. It is at times, an almost play for play reenactment, with small variations, to trick you into believing it’s an original story. Almost every character a substitute with a new name, each with added ‘drama’. Each scene has a touch of, ‘do kind of what we did before, but bigger, bolder and louder’… or just add a shark. Where we once watched Phoenix announce himself to the world with a performance of a complex man child, fighting to disprove his fathers beliefs, only to compound them, we now get subjected to one dimensional, petulant school kids with zero character or charisma. Maximus, a man you would happily follow into war yourself, now little more than a sulky chap with a chip on his shoulder. The intricacies and intelligence of the battles and fights, now just the standard run of the mill CGI scenes that could be plucked from a list of modern movies. The same classic score is used over and again, but added for nostalgia rather than effect, and doesn’t fit. Pascal and McInnerny are the only actors to forge their own way and really hold their own. Even Washington, a great actor by any standard, is hampered by problems, some within his control (the American accent jars), but mostly out… the odd, loud declaration of his sexuality during his first on screen meeting with McInnerny, feels forced and unnecessary. The performances of two outstanding professionals make this abundantly clear, but it’s as if the writers sat down and said, ‘are we sure we’ve hit our inclusivity targets? Let’s add a line just to make sure.’ And it’s these sledgehammer moments throughout, that reduce the project to ‘meh’ rather than ‘yeah!’
