It's rare that you leave the theater wishing that a movie were longer, but that is most certainly the case with Gladiator, the first film in many a moon, except perhaps Titanic, that truly deserves the label "epic." After watching it, you realize that we need more of these films, the type that sweep us away so completely that we remember what "going to the movies" really means.

From the start, it's clear that every penny spent on this film is up on screen. Whether it's the opening battle sequence replete with fiery cannon balls and arrows -- Scott actually got permission to burn down part of a forest in Britain -- or the historically accurate, full-scale model built of a desert coliseum, no detail here was spared, and the effect is mesmerizing. Not only do you feel like you are part of history, but you know that the actors feel it too. The realism is staggering and it is no small part of the film's success.

For such a grand project, the plot is deceptively simple. Our hero -- in every sense of the word -- is Maximus (Russell Crowe), Rome's most esteemed general who has been fighting for the glory of the Republic for longer than he cares to remember. Russell Crowe is unquestionably the core of this film. At first glance, he might seem an unlikely choice for such an intense role, but in the end proves himself to be perfectly cast. While movie stars like Arnold Schwarzenegger and Harrison Ford can act, they tend to be able to coast along on their celebrity alone. Crowe doesn't have that luxury, but he doesn't need it. He displays so much complexity and power in the role of Maximus that one is hard pressed to see any other actor in the role. He makes it his own.

All Maximus, a humble farmer by trade, wants to do is return home to his wife and son. But this is not to be. Rome's emperor Marcus Aurelius is dying and he wants Maximus, who is like a son to him, to lead Rome back to goodness. This, of course, doesn't sit well with Marcus Aurelius' ambitious son Commodus, who promptly kills his father, assumes the role of emperor and sends Maximus to his death.

These tragedies sets the scene for the intense character battle that follows. Maximus, in the tradition of all great heroes, survives the attempt on his life, only to find himself cast into slavery and forced to fight in the gladiator battles run by desert ruffian Proximo (Oliver Reed.) Here is where we see the real Maximus, a survivor who rises up to become Proximo's greatest warrior. When Proximo brings his gladiators to compete in Rome, Maximus finally has the chance to make good on his promise to the dead emperor with the help of Commodus' sister Lucilla (Connie Neilsen) and Senator Gracchus (Derek Jacobi).

The film truly comes alive once it moves to the sprawling metropolis of Rome. Political and sexual intrigue, emotional and physical violence, moments of great tenderness and redemption all play their roles. It quickly becomes clear that there is a great deal more to this movie than fight sequences, although given the name of the film a few more gladiator battles would have been most welcome. Still, the easy way out would have been to write this film as one long sword fight and, luckily, writers Fanzoni, Logan and Nicholson avoided that like the plague. It is, pure and simple, a character drama with a very basic story line and a collection of universal themes -- loyalty, vengeance, love, betrayal, hope. Oh yeah, and lots of blood and guts too.

Ridley Scott has proven once again why he is an A-List director. He has captured the Roman world in all its exquisite grandeur and horror, yet never sacrifices style for substance. Despite the scale of the film, this is a movie about people first and foremost. And, as always, coming from character is the key to solid filmmaking. It helps that Scott and the actors have such a superb script to work with, a script which never panders or simplifies.

Gladiator is a film that isn't afraid to grab its subject matter by the horns and tackle it. The team that made this film deserves all the accolades it can get. By balancing intellect, brutality and sensuality, they have managed to make a film that is both art and entertainment. The result is a story that, in terms of characters, conflict and themes, is Shakespearean in scope, yet fundamental enough to touch us on a deeply human level.