| DreamWorks Distribution | Release Date: May 5, 2000 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
33
Mixed:
12
Negative:
1
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Critic Reviews
Lacks emotional depth and sweep -- but the movie still delivers the type of rousing, large-scale adventure that marked the best films of its kind
It epitomizes the kind of high-profile bloodshed we now expect to herald the hazy, lazy, blockbuster-fixated days of summer.
It's a stunning Roman triumph.
The fight scenes are dynamic, intricately choreographed, and downright exciting.
Glorious, a colossus of rousing action and ferocious fun.
Frequently gory, often talky, almost always watchable, never quite thrilling, Gladiator is a cold and big film that mixes solid acting with cheesy digital effects and sweaty action with stultifying chatter.
Quite a good movie--a big, fat, rousing, intelligent, daring, retro, many-adjective-requiring entertainment.
What elevates Gladiator to the near-greatness it occasionally achieves is the performance of Russell Crowe as Maximus.
Well, it's better than "The Phantom Menace."
Emphasizing brawn over brain and spectacle over intimacy, Ridley Scott's Gladiator nevertheless is an impressive accomplishment in its re-creation not only of the golden age of the Roman Empire but of the unspeakable brutality with which one of the world's greatest states conducted its business.
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Gladiator is designed not just to entertain, but to enthrall. It draws audiences in and immerses them in a reality that is not their own. A boisterous reaction is expected every time the protagonist defies the odds and wins a conflict, or changes the tide of battle in his favor. This is filmmaking on a grand scale.
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While it's all grand opera, and driven by sweeping gestures and pompous, overwritten dialogue, it is prone to plain silliness - especially in granting us the big showdown at the close. But the sheer dynamism of the action, coupled with Hans Zimmer's lavish score and the forcefield of Crowe, still makes this a fiercesome competitor in the summer movie stakes.
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There's a thrilling sense of transcendence that won't let go from the first masterfully constructed frames in Ridley Scott's modern epic of ancient Rome. It's that very rare feeling that you're settling into a movie whose individual elements are so finely attuned they fuse into a singular construct of pure entertainment.
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Combining a seething physicality with enough weary nobility and tightly checked rage for a dozen wronged heroes, (Crowe) provides the movie's vital center of gravity without looming over his co-stars.
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