In 79 AD, Rome is restless. In an effort to placate his people, Emperor Vespasian (Anthony Hopkins) entertains his people with chariot races and gladiatorial battle. But the violence of the arena is outdone by the backstabbing and power-grabbing behind the scenes.
Episodes viewed: 10 of 10
Streaming on: Prime Video
Ancient Rome is a screenwriter’s dream. Constantly murdering, overthrowing and cheating on each other, they lived as if conscious of supplying plot for future entertainment. This expensively trashy swords-and-sandals effort is stuffed with potential melodrama — often based on fact — but sadly it seems most interested in its dullest elements.
Developed by Robert Rodat (Saving Private Ryan, though he’s not on that form here), based on Daniel P. Mannix’s book, it’s set in 79 AD, a time when the Roman empire is looking shaky. To distract from grubby living standards and streets filled with violence, Emperor Vespasian (Anthony Hopkins) entertains his people with chariot-racing and gladiatorial battle. The arena, the Circus Maximus, is also where the city’s most powerful wrestle for control, and betting-shop owner Tenax (Iwan Rheon) manipulates everyone. As Roman society fragments, Vespasian is fretting about which son will succeed him: militarily decorated but cerebrally mediocre Titus (Tom Hughes) or mad-eyed schemer Domitian (Jojo Macari).
Backroom dealings over shares and horses are a snore, not helped by dialogue as chewy as a legionnaire’s sandal.
If you’ve been lured in by the words “starring Anthony Hopkins”, recalibrate your expectations. He’s barely in it, appearing for a couple of minutes here and there, softly delivering warnings about the future of Rome, then shutting his doors, to his sons and the viewer.
Among too many plots, by far the most entertaining is that of Cala (Sara Martins-Court), a trader whose daughters have been sold into slavery, while her son is forced to become a gladiator. Her efforts to get them all back, which necessitate wheedling her way into Roman society, are twisty and surprising. Sadly, Rodat’s attention is more on the boring war for dominance in the chariot-racing industry. The races are fun — Roland Emmerich directs the early episodes and can be relied on for an OTT action sequence — but backroom dealings over shares and horses are a snore, not helped by dialogue as chewy as a legionnaire’s sandal. There’s plenty of hedonism and flamboyance in the characters’ choices, but not enough in the creative team’s execution. Thumb down.
All the elements are here for a pricy, enjoyable, campy soap opera. Instead it takes itself too seriously, to increasingly dull effect.