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nypost.com
73%
971
Historian slams ‘Gladiator II’ as ‘total Hollywood bulls–t’
The Hollywood Reporter that the film’s idea is “total Hollywood bulls–t.”Written by David Scarpa, the sequel to the Russell Crowe-led 2000 historical epic showcases the world over two decades later.Paul Mescal plays the grown-up Lucius Verus II, the son of Crowe’s character, Maximus, whom Spencer Treat Clark portrayed in the original film. Lucius is the son of Lucilla (Connie Nielsen) and nephew of Commodus, who was originally played by Joaquin Phoenix.In the film’s trailer, one scene shows the Colosseum in Rome being flooded and filled with sharks.“I don’t think Romans knew what a shark was,” said Bartsch, who boasts degrees from Princeton, Harvard and UC Berkeley.Bartsch did note that the Romans really did fill the Colosseum with water for various naval battles.Another scene from the film shows rhinos charging into the Colosseum, which Bartsch notes is only partially accurate.Bartsch explained that Martial, a Roman poet, “wrote a poem in 80 AD about a rhinoceros tossing a bull up to the sky” — however it would have been a single-horned rhino and not a two-horned one shown in the film.The historian noted that Scott got the news element wrong in the film, explaining that Romans did not read newspapers while sipping tea in a cafe, because newspapers were invented some 1,200 years later.“They did have daily news — Acta Diuma — but it was carved and placed at certain locations,” she told the outlet.
metroweekly.com
55%
793
‘Napoleon’ Review: French Dip
Ridley Scott’s Napoleon marches into cinematic battle with the bluster and confidence that comes with a reported $200-million budget and Sir Ridley’s decades-deep track record of well-mounted action epics.All that money and prestige is visible onscreen in the film’s far-flung locations, hundreds of extras, delectable period costumes and decor, and, as advertised, several massively-scaled scenes of battle, on land and sea, circa 1789 to 1815.Legions of infantry and cavalry clash on various rolling hills of Europe, shot in icy, desaturated blues and grays by Dariusz Wolski, Scott’s cinematographer on his last nine films (though not his next one, Gladiator 2, being lensed by Gladiator d.p. John Mathieson).Against vast fields of green or snow-covered grasses, and CGI-enhanced masses of combatants, soldiers’ coats flash a red that’s many shades brighter than the blood that flows and bursts violently across the screen.The filmmakers spare no visual detail in depicting the bodily devastation of hand-to-hand armed combat — death by bayonet, point-blank gunfire, horse hooves, or long-range artillery.Death here is bloody, disgusting, and woefully unnecessary, but it’s also the main currency of war, and this movie revels in the loud, explosive spectacle of war far more enthusiastically than it casts its feebly critical eye at the men who clamor for it.Above all else, the film renders tribute to Napoleon Bonaparte, portrayed by Oscar-winner Joaquin Phoenix as a shrewd but coarse, fearless, petulant, glowering egomaniac who rises to imperial power fighting and winning wars.

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