Gladiator II review: This adrenaline-pumping film puts up a good fight and will have your heart racing

GLADIATOR II

(15) 148mins

★★★★☆

A HOTLY anticipated sequel film can feel a little like queuing for a rollercoaster.

There’s the nerves that it won’t be as good as the first time you rode it, the feeling that perhaps you shouldn’t even get on in case you want to get off straight away — and the adrenaline the moment it starts.

This is exactly how I felt building up to seeing the long-awaited Gladiator II — released 24 years after the original.

With Sir Ridley Scott once again directing the Colosseum extravaganza, could it possibly be as good as his first Roman spectacular?

Well, it’s not. But, boy, does it put up a good fight.

In Gladiator world, it’s 16 years since the demise of Maximus (Russell Crowe, who features in flashbacks to the original).

This is the story of Lucius (a beefed up Paul Mescal) who having witnessed the death of his slave-turned-Gladiator dad is sent away to Africa, where as an adult he fights for his freedom.

During this unsuccessful attempt, his wife is killed by Marcus (Pedro Pascal) and he is dragged to Rome where he is picked to fight in front of the skin-crawling young emperors and brothers Caracalla and Geta under the teachings of Macrinus (Denzel Washington).

And he makes a damn fine job of keeping them entertained — by fighting giant monkeys, rhinos and even sharks after the Romans managed to fill a colosseum with sea water and Great Whites.

There’s plenty you have to laugh off watching this mad yet somehow majestic film ­— with some ropey dialogue and a glaring continuity issue straight after Mescal bites a CGI monster monkey that makes you concerned about who Sir Ridley is hiring.

But Denzel Washington is the gem here, playing the best baddie in years.

Like a Roman version of Othello’s Iago, he mostly seems to want to disrupt things just for s**ts and giggles.

Mescal’s acting energy is mostly saved for his fight sequences, where he steps out of being that sultry guy from Normal People and into leading man shoes.

And there’s a smattering of Brit stars to watch out for, including Matt Lucas and Sir Derek Jacobi.

Yes, its camp and sometimes ridiculous. But this adrenaline-pumping film will have your heart racing.

I’d certainly queue up again for another ride.

JOY

(12A) 115mins

★★★☆☆

THE title of this film might give the wrong impression. While there is plenty to marvel at here, in the work of the three scientists who created IVF, not much joy is shown during their courageous battle to get it under way.

This is the true story of pioneering biologist Robert Edwards (James Norton), obstetrician Patrick Steptoe (Bill Nighy) and nurse and embryologist Jean Purdy (Thomasin McKenzie) who together created the first “test tube” baby.

They face almost unthinkable hostility from both Press and Church during their slog to help infertile women.

Even the Medical Research Council see little value in their work, with Edwards asking if they would invest more if it was a “male” issue.

Screenwriter Jack Thorne and director Ben Taylor provide a beautifully British film that brings to life the drama and sadness that came about trying to make a baby through science.

The three scientists make an unlikely friendship group, but the fine actors here are able to make it all believable.

With much of the action set on the streets of Cambridge, and styled perfectly for the Sixties and Seventies, Joy is a gentle, watchable drama. In cinemas from today, and on Netflix from next Friday.

CHRISTMAS EVE IN MILLER’S POINT

(12A) 106mins

★☆☆☆☆

FORGET “Ho, ho, ho!” – after getting on for two hours spent watching director Tyler Taormina’s dull, rambling festive tale you’re likely to be thinking “I want to go, go, go!”

Starring Michael Cera, (of Juno fame), Chris Lazzaro and Sawyer Spielberg, this snoozefest takes place on Christmas Eve as a multi-generational blue-collar family gather for the holiday on New York’s Long Island.

There’s a cluster of character clichés – a deaf grandma, rebellious teen, proud mum, cute kids and closeted cop. New arrivals are constantly turning up to eat – yet not one manages to be interesting.

They bicker, talk about dead relatives, watch old videos and see Santa drive past, while the teens disappear to meet friends and do some underage drinking.

With no proper storyline, it’s clearly meant to be a nostalgic, poignant meander capturing the true and authentic spirit of a conventional, small-town Christmas.

It does do this but, as most of us can attest by the end of any such family gathering, you are usually desperate to leave and get back home. Just as you will be after watching this.

Laura Stott