Gladiator

Gladiator, 2000

Directed by Ridley Scott

Nominated for 12 Oscars, Won 5

Up Against: Chocolat, Crouching Tiger Hidden Dragon, Erin Brockovich, Traffic 

Gladiator is a movie I've seen several times, and a movie I really do enjoy. It's the story of Maximus, a general in the Roman army, who is very much loved by Marcus  Aurelius. The time is coming for Marcus Aurelius to announce the succession, and in an unseen move, he tells Maximus he would like him to become his heir. Stunned, Maximus takes some time to think about it. But sadly, while he is, Marcus's corrupt son Commodus is let known he will not be Caesar. Upset that he has never been good enough for his father, he embraces him, and then suffocates him, the world never knowing about what was intended for Maximus. Maximus is arrested, and while he escapes being executed, he doesn't make it home in time to save his wife and son. Sleeping at their charred feet, the next morning he is captured as a slave, and is bought as a Gladiator. He rises through the ranks very quickly, spurred on by his master (also an ex-gladiator who was bought his freedom). His only goal now is to become so great that he may be able to find Commodus again, and let him know that he is not finished with him. 

I'm actually a fan of Russell Crowe, and this is one of my favourite films of his. It's a movie, in my mind, that I always sort of associated with Braveheart as being similar, though Gladiator is a much better made film (that and I don't care for Mel Gibson). Usually I don't very much enjoy films with a lot of killing in them, but this movie was not overdone on the gore. 

The music in this film is a particular stand out to me. While the battle scenes frequently sound like a bit of a wonky Pirates of the Caribbean theme, the rest of it is a very fine Zimmer score. The touches from Lisa Gerard make the slower pieces very touching and peaceful. The pieces that Zimmer and Gerrard did together are so beautiful, and rightfully capture the sadness and hopefullness of Maximus. 

Joaquin Phoenix is also a standout in the film. The sneering, corrupt Commodus, he plays the part to a T. It makes me a bit sad that he didn't win that year, but that's that. 

The cinematography, too, was very good and beautiful, as well as the costumes. Overall, the film looked very authentic, and looked beautiful. 

Overall, this is a film I enjoy. It's not my favoruite film, or even close, but is a movie I always enjoy watching when it's on TV or whatever. I can't comment on whether it deserved to win, having not seen any of the other films that were up that year, but I enjoy this movie so I'm not complaining!

Acting- 8/10
Directing- 8/10
Screenplay- 7/10
Music - 9/10
"The look"- 8/10
Entertaining- 7/10
Emotional Connection- 7/10
Rewatchability- 7/10
Did I like It?- 8/10
"Total Package"**- 7.5/10  

 Total: 76.5/100

Ask JKM a Question #59: Is Ridley Scott a Genre Director?

A reader named Caitlan writes: 

“Settle something please Mr. Muir.

Exactly what is your definition of a genre director? Or does that moniker even apply anymore?

My inquiry stems from Ridley Scott.

I say he is one of the greatest genre directors ever. Alien. One of the great horror films ever. Blade Runner. Considered one of the great sci-fi films of all time.

And now with Prometheus and a Blade Runner remake due, I say Scott is a genre director on the level of Gilliam, Carpenter, and Cameron.

 My husband, on the other hand, is a HUGE Cameron fan and claims that Scott is a mainstream director that HAPPENED to have directed great genre films, but is not, himself, a genre director. That out of 32 films directed, only 5 can be considered to be horror/sci-fi and that regardless of how well received those 5 films are, 27 of his films have been mainstream and THAT alone makes him a mainstream director.

That it would be tantamount to calling William Friedkin a horror film director like Craven or Hooper just because he directed The Exorcist 40 years ago.

If you choose to answer this, we will both accept your response as THE final word on this rather intense disagreement. :)”

Caitlan: that is a tough one and I hate to take sides. 

I can, honestly, see both sides of the debate.  But I tend to side with you for a couple of reasons. 

First, I define a genre director as someone who works in the genre frequently.  It’s that simple. 

More than three films in the genre is generally sufficient for me to qualify someone as a genre director.  The distinction is still an important one because it helps us contextualize a director's career, and organize his other work.

Secondly, I make no bones about my desire to claim as many good directors as possible for the “genre,” thus making my definition, admittedly, a liberal one.

And thirdly, Scott’s canon, as you rightly note, now includes Alien (1979), Blade Runner (1982),Legend (1985), Hannibal (2000) and Prometheus (2012), with sequels to Blade Runner and Prometheusto come. 

That grouping represents a truly significant genre body of work. To not speak of Scott in terms of genre seems a disservice when many would legitimately claim, as you do, that he has made some of the best films in sf and horror.

By contrast, Scott has made two war movies (G.I. Jane, Black Hawk Down), two “cop” movies (Black Rain, American Gangster) and four movies you might call historical dramas (Gladiator, 1492, Kingdom of Heaven and Robin Hood). 

So in terms of the films Scott has made, he has deliberately selected science fiction, fantasy, and horror more than any other specific film form.  His selection tells us which films he enjoys making, and which films he thinks he can get made.

So I say, let’s grab him! We need him.

And regarding William Friedkin, in addition to The Exorcist, he did also give us Rampage(1987), The Guardian (1990), Bug (2006) and Killer Joe (2012), so I feel like he’s skirting the edges of the genre, though the case is probably tougher to make in that instance.  He’s another favorite director with titles like Cruising, Sorcerer and To Live and Die in L.A., but I can’t make as clear cut an argument in his favor.

I hope that answer helps at least a little, and that peace is soon restored in your household.  Thank you for asking a terrific question.  I appreciate it! Happy Holidays!

Don’t forget to ask me your questions at Muirbusiness@yahoo.com

124. Prometheus

124. (08 Jun) Prometheus (2012, Ridley Scott)* 38

Certainly the most disappointing science fiction prequel since The Phantom Menace, this is infinitely more inept than that film. Failing to establish any characters to the point where it becomes downright comical when we're meant to feel for them as they perish one by one, it's impossible to get caught up in a moment of Prometheus. Reliant on special effects, this lamely undercooked spin on creationism is neither thought-provoking nor entertaining. The criminal underuse of Charlize Theron is perhaps most crushing of all.

PROMETHEUS

PROMETHEUS
Written by Jon Spaihts and Damon Lindelof
Directed by Ridley Scott
Starring Noomi Rapace, Michael Fassbender and Charlize Theron

David: Sometimes to create, one must first destroy.

The ship which Ridley Scott’s latest foray into outer space is named for, PROMETHEUS, is itself named after a Greek god. In case you’re unfamiliar, this particular God is not only credited with the creation of man, from clay no less, but also with providing mankind with fire and the possibility of progress. The trouble is he had to steal the fire in the first place and so his deed would need to be punished. Aside from eternal torment and torture, Prometheus would also be forever known as a symbol for overreaching and the often unfortunate consequences of doing so. There is only one person doing any overreaching on this ship though and that’s the director. Not to mention, it would seem to me that naming an exploratory space ship thus would just be more of a subconscious effort to sabotage your chances for success than anything else.

PROMETHEUS opens with stunning shots of landscapes and waterfalls and culminates in a bizarre spectacle that announces the possibility of a truly unique and breathtaking film experience. It then moves rather quickly into all too familiar territory. Type on the screen dictates the time and place of the mission, while people are asleep in pods on the ship, and an android watches carefully over them with some potentially questionable motivation. There were months of speculation but now there is no denying that this is an alien movie, somehow connected to Scott’s seminal 1979 film, ALIEN. It isn’t made clear just how at first but it certainly follows exactly the same pattern as his original film, as well as James Cameron’s sequel, ALIENS. After everyone wakes up, they pal around in the cafeteria; the ship’s authorities have money on their minds at all times; disposable crew members are picked off in small increments; heck, there are even things that pop out of stomachs and girls in tiny, objectifying briefs. The technology allows the film to look fresh and updated but the familiarity left me wondering if I was watching a remake and also why no one told me ahead of time.

So, once you realize PROMETHEUS is an ALIEN movie, the question becomes is it actually a good ALIEN movie? It is, to some extent, if you consider the word “alien” to mean beings from outer space and not the specific ones from the original film. Go in expecting them and you will be disappointed. That said, I can’t guarantee you won’t be disappointed if you go in not expecting them either. We wait to see what all the fuss is about for a good hour, and marvel at its beauty, because PROMETHEUS is nothing if not beautiful, but by the time the action comes, we have been waiting for it for so long that it almost feels forced. And I know that genre pics like this warrant all secrecy but the fact is that the spoiler moments in this film almost spoiled it completely for me. There are moments that are just too hard to believe or too sadistic to be taken seriously. Some of these moments are too hard to truly recover from even. Scott may know aliens but he doesn’t seem to know much about creating credible human beings here.

PROMETHEUS is co-written by LOST alumni, Damon Lindelof (along with relative newcomer Jon Spaihts). Like in the popular television series, Lindelof again attempts to tackle ideas about where we came from and where we’re going. And once again, he provides vague musings about our nature that truly only beg more questions. Hence the reason any characters left at the end of the film are only left with one question on their minds; why is this happening? Naturally, they must find out and so PROMETHEUS seems destined to continue its quest, which, while noble in intention, is really nothing more than a setup for a sequel. With that, PROMETHEUS the film reveals its true mission is not so dissimilar to that of the ship. Profit at any expense is always more important than understanding humanity.

Top Ranked Films of Ridley Scott

Ridley Scott
4 titles in the the top 1000,
27th in points with 20,824

Ridley Scott, one of the best modern action directors, has managed to direct both popular films, and films that were excellent examples of cinema craftmanship, among the best of their genres. These are all the films of Ridley Scott’s (brother of Tony Scott) that made the top 1000 in our 2011 update of the Top Ranked 1000