THE DOG STARS – Review by T.J. Callahan

The dystopian saga features Jacob Elordi as Hig, a widowed mechanic and pilot, who lives with his dog Jasper and a military survivalist named Bangley, played by Josh Brolin. They’ve set up house in an abandoned airplane hangar nestled in a valley between mountains outside of Denver. He spends his days trying to stay one step ahead of the roaming scavengers called Reapers and flying his Cessna into the remains of the city to gather hidden supplies. Until one day, when he hears a distant voice over his cockpit radio. Still believing in humanity over evil, Hig dares to fly past the “safe zone” to see if a better life exists.

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GLADIATOR II – Review by Diane Carson

Fans of excessive violence and banal stereotypes will welcome director Ridley Scott’s Gladiator II, set sixteen years after Gladiator, also directed by Scott. First, good news. Technically, every element shines from John Mathieson’s impressive cinematography reportedly often involving eight to twelve cameras filming simultaneously. Compositions, lighting, art direction, and editing contribute a professional gloss to events, obvious CGI excepted. In addition, the ensemble cast, to a person, commit fully to their two-dimensional characters, all familiar caricatures, lacking any complexity. They each telegraph their function immediately and often.

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GLADIATOR II – Review by Valerie Kalfrin

Like an ancient road, Gladiator II, a sequel arriving twenty-four years after the Oscar-winning Gladiator, covers some familiar ground. Director Ridley Scott’s historical epic ramps up swords-and-sandals violence, delivering a visual spectacle of decapitation, dismemberment, and free-for-alls that include battles at sea.
Yet the story doesn’t have the same resonance as the original, where the honorable Roman general Maximus (Russell Crowe), betrayed and enslaved, fought for his freedom and to depose a corrupt emperor through combat in the Coliseum.

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GLADIATOR II – Review by Susan Granger

After Gladiator (2000) won an Oscar as Best Picture, Ridley Scott waited more than 20 years to return to Rome’s ancient Colosseum to film Gladiator II. While the first Gladiator focused on Roman General Maximus (Russell Crowe), this follow-up introduces Lucius who, as a sensitive 12 year-old in Numidia, was forced to leave his aristocratic family, go into hiding and ‘forget’ his identity. it’s a redemptive comeback for 86 year-old Ridley Scott after duds like Napoleon, House of Gucci, and The Last Duel. And it should nab a Best Supporting Actor nomination for scene-stealing Denzel Washington.

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GLADIATOR II – Review by T.J. Callahan

It’s been 24 years since director Ridley Scott awed movie goers with Gladiator, his Oscar-winning Roman Colosseum sword fest soap opera. But It hasn’t been that long in screenplay years. Gladiator II is set 16 years after Lucius witnessed the death of Maximus. Bigger, louder and bloodier, Gladiator II is the epic battle for supremacy. It’s two hours and 20 minutes of posturing and pillaging leading to catastrophic carnage. Heads roll. Literally!

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NAPOLEON – Review by Susan Granger

Big-budgeted Napoleon is an epic bore. Working from David Scarpa’s history-heavy script, director Ridley Scott (Gladiator) spends 2 hours, 38 minutes alternating between brutality on the battlefield and violence in the bedroom, succeeding more in the former than the latter – since he used 11 cameras, filming simultaneously for the frontline carnage. In the titular role, Joaquin Phoenix is almost as quirky and creepy as he was as Arthur Fleck in Joker. He whines, sneers and – almost comically – habitually covers his ears after ordering the canons to fire. What he lacks is charisma.

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HOUSE OF GUCCI – Review by Susan Granger

Ridley Scott’s extravagant melodrama House of Gucci delves into what led to the 1995 murder of Maurizio Gucci, scion of the Milan-based fashion family.

This sordid saga of love, backstabbing and betrayal begins as Patrizia Reggiani (Lady Gaga), an accountant at her father’s trucking company, sets her sights on bespectacled Maurizio Gucci (Adam Driver), whom she meets at a disco party. Although he’s smitten, his suave, snobbish father Rodolfo (Jeremy Irons) spots her as a crass, social-climbing gold-digger.

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HOUSE OF GUCCI – Review by Liz Braun

Every bit as plastique and fabulous as a knock-off designer handbag, House of Gucci is a wildly entertaining soap opera about people fighting over money, from director Ridley Scott. .Based on a real-life story of greed and betrayal and tragedy, in the telling here it is busy and beautiful to look at. There are a couple of leaps in the storytelling that don’t quite add up and a complaint might be lodged about some of the more melodramatic bits — but it’s all so visually dazzling and fun to watch that none of these quibbles add up to much.

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HOUSE OF GUCCI – Review by Diane Carson

House of Gucci chronicles unpleasant events regarding this fashion brand. Based on Sara Gay Forden’s 2001 book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed, the four elements emphasized in her title pinpoint the essence of the drama. Announced on screen as “inspired by true events,” it has, nevertheless, received extensive Gucci family criticism, the book and the film. No wonder, for no one comes off admirably depicted.

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