Nearly a quarter of a century ago, Ridley Scott’s “Gladiator” took the swords-and-sandals action of previous genre-definers “Spartacus” and “Clash of the Titans” and gave it new life, paving the way for further success in Zach Snyder’s 2007 outing “300” and that forgettable 2016 remake of “Ben-Hur.” It’s a tricky world to adapt, extending beyond the over-the-top energy of brutal combat and chariot races and into the realms of a bygone era’s political, interpersonal, and economics. A sequel to “Gladiator” awaits in the wings, and its predecessor is still the bellwether. So, as audiences seek a contemporary example of all these elements coming together flawlessly, could “Those About to Die,” Peacock’s ten-episode streaming journey into the days of these ever-so-slightly tired Roman escapades offer something new, fresh, and as exciting as a strutting Russell Crowe bellowing, “Are you not entertained?”
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Well, maybe. There is entertainment, but its presence is fleeting and often arrives unintentionally in the form of catastrophically poor dialogue or racing scenes full of just enough excitement to distract from the supremely average CG littered throughout. There’s also a tremendous amount of, for lack of a better word, stuff happening overall, with the star power of Anthony Hopkins a bizarrely small piece of this bloated adventure. It’s hard to determine where to begin…perhaps the book, written by Daniel Mannix and which also served as inspiration for “Gladiator,” could be a decent jumping-off point. Maybe it’s in noting the presence of Roland Emmerich, who directed half of the “Those About To Die” ten episodes, in addition to holding court as one part of the executive producer roster, and whose mark can’t be denied in the show’s frequent tendencies to go a bit too over the top in production value or character arcs. That CG, a hallmark of many an Emmerich joint, shows signs of not-quite-there rendering that appears incomplete as a sweeping shot of the show’s Rome, circa A.D. 79 setting wouldn’t be out of place in any mid-90s video game cutscene, in stark contrast to the practical setpieces that do far better in getting the job done. You’ll also never feel confused as to the location of the moment, with titles appearing onscreen seemingly every few minutes to the point where fancy-sounding names like “Circus Maximus” and “Flavian Amphitheater” start to blur together before long. But, as Joaquin Phoenix once told the crowd with a thumbs-down, let’s move on to the plot, shall we?
Again, it’s a lot. Vespasian (Hopkins) is the current emperor, seeing that his time on the throne is nearing its end and with the task of choosing his replacement now before him, with sons Titus (Tom Hughes) and Domitian (Jojo Macari) vying for the title. Vespasian isn’t afraid to point out any moment of one son failing to the opposing son, even if the delivery of such a put-down comes off clunky; it’s but one of far too many instances of the dialogue failing the speaker, though it’s difficult to tell of Hopkins is indeed trying his best or speaking from the pulpit of the Church of Phoning It In. They even got the two-time Oscar winner to deliver voiceover again, coming off as indistinguishable from the work he did on Snyder’s own “Rebel Moon,” and to see him dressed in garb not at all out of place from the garments he wore in the opening scenes of “Thor: Ragnarok” seem to suggest that, at this stage in his career, all he wants is comfort. I can’t blame him.
Back to the premise. As Titus and Domitian hold up one of the show’s plotline support beams, in walks Tenax (Iwan Rheon), a true standout as the resident bookie of Circus Maximus’ races, doing what he can with sub-par writing and an ability to drive his character forward with a mere look. Tenax has his own goals and ambitions, and due in no small part to Rheon’s commitment, his contributions are one of the few genuine highlights. There’s also the kidnapping of sisters Aura (Kyshan Wilson) and Jula (Alicia Edogamhe), townsfolk whose mother, Cala (Sara Martins), immediately springs into rescue mode upon learning of this event; from the moment she enters the fray, Martins is simply terrific, commanding the screen with an infectious vitality that a show operating at the top end of the speedometer could actually do well with a bit less.
Rheon and Martins are the two proper exceptions to this wish, though Cala’s son Kwame (Moe Hashim) has his own moments; as he finds himself captured alongside his sisters and in an effort to save himself from being sent away into slavery, Kwame proves himself as possessing his own set of gladiatorial skills, enough to send him from a possible trip to the mines to the center of an arena.
That said, anyone expecting this level of nonstop action should look elsewhere for their fix, especially as the show plateaus early on and each plotline fights for screentime in what should be a seamless interwoven dance. A perfect example can be found in the premiere episode’s revolt sequence when hungry villagers brutally kill a guard as ADR runs rampant; could there be a better visual representation of “Those About to Die” somehow fighting with itself?
Save that for the colosseum, which sadly saves its introductory race for the final act of the first episode, and in which these unbridled moments of electricity are seemingly replaced by any random character shouting a mix of intense-sounding phrases and the occasional perplexing word or two of Latin.
It’s not hard to imagine that, by the time the action rolls around, fatigue from chasing after the show’s purpose may very well have set in, allowing characters like a trio of Spaniard horse merchants (Pepe Barroso, Eneko Sagardoy and Goncalo Almeida) to become all but forgotten. Will the periodic “Mary & George” levels of hedonism keep things interesting? They, too, are fleeting, feel shoehorned, and, if nothing else, allow characters like Titus’ lover to quietly utter motivational quotes in his direction. Didn’t I say there’s a lot?
It’s easy to see how this show might try to set itself apart from its peers, offering far more focus on the inner workings of early Roman society than the spectacle audiences then and now still crave. There may be a commentary about the crevasse between the 1% and the rest. Still, it’s hard to zero in on that possibility when any character occupying the screen begins to growl another ridiculous line. Creator Robert Rodat once received an Oscar nomination for his “Saving Private Ryan” screenplay, but it’s clear that 26 years removed from that success has done little to produce a show your history professor will cite as required viewing. Anthony Hopkins might just be along for the ride, but like everyone else involved here, he is holding on for dear life. [C-]
“Those About To Die” premieres on Peacock today, July 18.