'Those About To Die' Review: Drenched in Blood and Messy Storytelling

Roland Emmerich’s latest venture, 'Those About to Die,' takes its inspiration from Daniel P. Manni’s 1958 non-fiction novel, diving headfirst into the brutal world of Ancient Rome. Focusing on gladiators and chariot racing, the show paints a vivid picture of the era's corruption and the high-stakes politics surrounding these blood-soaked games.

Anthony Hopkins leads the cast as Emperor Vespasian, flanked by his sons, Titus (Tom Hughes) and Domitian (Jojo Macari). The show introduces a plethora of characters, including Tenax (Iwan Rheon), a games master who runs the grimy side of Rome, Cala (Sara Martins), a Numidian mother fighting to rescue her enslaved children, and Scorpus (Dimitri Leonidas), a charioteer with a penchant for excess.

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The sheer number of characters can be overwhelming, and the plot quickly becomes tangled. The blue faction, prominently featuring Antonia (Gabriella Pession) and Marsus (Rupert Penry-Jones), is among the four factions vying for power and influence. Despite the rich backdrop, the show often feels cluttered, with numerous threads introduced but insufficiently explored.

The series tackles various issues, from the political scheming of Vespasian's sons to the nobility’s relentless pursuit of wealth. Tenax’s climb from the gutter and Cala’s struggle are poignant, serving as audience surrogates navigating a corrupt system. However, the show’s attempt to layer in themes of imperialism, poverty, and racial politics often overshadows the fictional narrative, making it feel more like a historical docuseries gone astray.

Having multiple plot lines isn't inherently problematic, but 'Those About to Die' struggles with balancing exposition and character development. It often prioritises setting the stage over fleshing out its characters, resulting in a narrative that feels rushed and unfocused.

Visually, the show presents a mixed bag. While the CGI can be laughable, particularly during the chariot races and gladiator battles, the costumes and set designs offer a visual feast. The show’s use of colour effectively distinguishes between the various factions and the social strata of Rome. However, the inconsistent cinematography and jarring lighting choices can detract from the overall experience.

The dialogue lacks sophistication, and while the cast, including Hopkins, is strong, the writing fails to fully develop its characters. By episode three, the informal and inconsistent dialect becomes somewhat tolerable, but the lack of depth in characterisation remains a significant flaw.

Despite these issues, 'Those About to Die' maintains a relentless pace and an earnest sense of urgency. It’s not without its moments of entertainment, even if it often struggles to find its footing. The show’s commitment to historical drama is clear, but its execution leaves much to be desired. Here’s hoping for a second season to address its flaws and refine its approach.