Another disputed addition to Ridley's late-stage career, and another addition to the extensively classified "unneeded sequels" of the past 10 years - one that, like Alien: Romulus from this year, likes virtually screaming reminder tones at you (minus the digital necromancy). But, to be honest, I was favourably absorbed in Ridley's large-scale sandbox of revenge and cruelty, which also conveys the bizarrely funny tone for which he is now becoming famed, particularly since Napoleon. Not without flaws, and without the commanding presence of Crowe at the helm in the early 2000s, but presents an ensemble that mostly shines. despite the admittedly unnecessary and strained follow-up baggage, the feeling it captures with its heart and large-scale opera moments manages to push through the circle-jerk of flashbacks. I simply appreciated returning to Ridley's chiselled, brutalised Rome and the colosseum of sacrifice. And with Denzel being the embodiment of a star, a necessary presence to elicit laughter and hatred, I was always going to like this.