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Watch Movie The ‘Gladiator’ This Weekend On Amazon Prime


January 15th, 2019   |   Updated on March 30th, 2019

A former Roman General sets out to exact vengeance against the corrupt emperor who murdered his family and sent him into slavery.

Maximus is a powerful Roman general, loved by the people and the aging Emperor, Marcus Aurelius. Before his death, the Emperor chooses Maximus to be his heir over his own son, Commodus, and a power struggle leaves Maximus and his family condemned to death.

The powerful general is unable to save his family, and his loss of will allows him to get captured and put into the Gladiator games until he dies. The only desire that fuels him now is the chance to rise to the top so that he will be able to look into the eyes of the man who will feel his revenge.

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Movie Reviews: ‘Gladiator

Movie Review: Hollywood Reporter

On May 5, 2000, Ridley Scott and Russell Crowe unveiled their R-rated Roman epic, Gladiator, in theaters nationwide. The film claimed five Oscars at the 73rd Academy Awards, including best picture. The Hollywood Reporter’s original review is below.

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.

Following up on his recent best actor Oscar nomination, Russell Crowe solidly anchors this epic-scale gladiator movie — the first in nearly four decades — by using his burly frame and expressive face to give dimension to what might otherwise have been comic book heroics. A guy’s guy, but one who should have considerable appeal for women as well, Crowe will be a major factor in the worldwide success of this ultimate jock movie from DreamWorks and Universal.

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Movie Review: L.A. Weekly


There’s a reason why there are so many crummy movies about imperial Rome — the men wore skirts, the violence was grotesque and the populace steeped in the sort of debauchery that Code-bound Hollywood never dared show. Historically, prohibitions on recreational purgation and rape made Rome better suited to the likes of Roger Corman than to Stanley Kubrick or Anthony Mann, an otherwise muscular director whose lugubrious The Fall of the Roman Empire (and Fall and Fall . . . ) is merely one inspiration for director Ridley Scott‘s new film, Gladiator.

Written by David Franzoni, John Logan and William Nicholson, the epic pivots on the exploits of an undefeated general named Maximus (Russell Crowe), who dutifully serves one Caesar, Marcus Aurelius (Richard Harris), and incurs the enmity of another, Marcus Aurelius’ son, the dissolute Commodus (Joaquin Phoenix). Soon after the story opens, Maximus, a wealthy farmer on the verge of returning to the wife and son he has not seen for nearly three years, is petitioned by Caesar to save Rome from itself by returning it to republican rule.

Commodus thwarts his father‘s plans with despotic flourish, and Maximus ends up going mano a mano with a rainbow coalition in a North African coliseum, then getting shipped off to Rome to distract the Coliseum masses.

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Movie Review: Sensacine


After the huge success of ‘Thelma & Louise’ in 1991, Ridley Scott walked through the nineties with three almost inconsequential titles, ‘1492: The Conquest of Paradise’, ‘White Storm’ and ‘Lieutenant O’Neil’ that led to in the year 2000 in the unexpected (or maybe not so much) success of ‘Gladiator’, film that regained the breath of the famous (and frankly obsolete) peplumsto build a stunning work in the visual in its start and in almost all its development but truly poor and empty in its background.

‘Gladiator’ works and has the typical mechanisms of hollywodiense film more topical but deeply worked in the field of production to get a gladiator story comes to like any kind of spectator. Everything fits perfectly and the film ends up presenting itself as a worthy, although ultimately boring, entertainment very well interpreted but that falls into the absurdity of covering itself with a seemingly progressive ideological patina that, in reality, what it hides is a more time a mechanism of emotional empathy with the viewer very calibrated for the sake of getting easy crying. In any case, twelve years later,

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