As a cinephile who has spent countless hours immersed in the world of cinema, I must say that Ridley Scott‘s work stands out as one of the most impactful and influential directors of our time. His films have not only captivated audiences with their visually stunning landscapes and gripping narratives, but they have also sparked deep philosophical discussions about the nature of man, technology, and humanity’s place in the universe.
Originally released in 2021, this list has now been revised to incorporate Ridley Scott’s new release, titled “Gladiator II”.
For more than four decades, director Ridley Scott has been unveiling frames filled with breathtaking magnificence. From the historical vistas of Rome, the Middle Ages, ancient Egypt, to the boundless desolation of outer space and the open sea, smog-laden cities like Los Angeles and Osaka, Japan, he’s explored a wide range of settings. His knack for genre films was evident in the powerful trilogy that kickstarted his career – the unconventional swashbuckler “The Duellists”, the terrifying space horror film “Alien”, and the sci-fi dystopia of “Blade Runner”. However, what truly ties these works together is Scott’s pursuit of aesthetic brilliance and ability to let a richly detailed backdrop drive the narrative.
One surprising note on the list below: Scott has director’s cuts of several of his films — Blade Runner, Legend, Kingdom of Heaven, and The Counselor — and all of them are improvements on the theatrical versions, often significantly better. The theatrical cut of Blade Runner, which added voiceover narration to help clarify the action, has been largely supplanted by the (slightly shorter) cut without voiceover, but the alternate versions of the others are not as easily found, especially on streaming. In the extreme case of Kingdom of Heaven, that’s a full 50 minutes lost and the difference between a Gladiator rehash with a weak center and a much richer treatment of the Crusades and a deep-seated religious conflict that continues to this day.
It could be debated that Scott’s career reached its zenith too quickly or he failed to fully capitalize on his potential as a visionary sci-fi director within the constraints of studio production. However, even his least successful films offer intriguing worlds to explore, as Scott pours an immense amount of creative and technical effort into crafting captivating atmospheres and visuals. Even when things don’t quite come together, these elements still resonate. And when everything aligns perfectly, his masterpieces have established a benchmark that many other filmmakers find challenging to match.
29.
1492: Conquest of Paradise (1992)
Among the two Christopher Columbus films released in 1992, “1492: Conquest of Paradise” stands out as the more compelling, with “Christopher Columbus: The Discovery” being a significant historical disappointment. However, it’s important to note that “1492” showcases Ridley Scott’s predilection for lavish settings at the expense of narrative depth. Gerard Depardieu portrays a more convincing Columbus than George Corraface did in the other film, but neither performance offers much dimension. This is surprising given the complex figure Columbus represents in the debate about colonialism and its effects on indigenous populations. Instead of delving into the complexities, “1492” opts for mythology, choosing to glorify rather than question. The film is visually stunning when it depicts the open sea or the New World’s lush landscapes, but the Columbus that emerges after 150 minutes is more of a dreamy symbol than a fully-realized character, making for an easy answer in a Social Studies test.
28.
A Good Year (2006)
Primarily recognized for works like “Life in Provence” and other popular memoirs showcasing the peculiarities and grandeur of southeastern France, Peter Mayle teamed up with Scott to conceptualize “A Good Year”, a novel that essentially praises similar qualities. However, Scott is not a director skilled at managing subtle nuances – the same can be said for Russell Crowe, his leading actor – and this disparity in styles leads to a film that undermines Mayle’s delicate charm. The plot, though predictable, follows Crowe’s slick investment banker as he navigates his late uncle’s dilapidated château and estate in Provence, initially tasked with preparing it for sale but eventually finding himself embracing its soothing pace. Instead of capturing the eccentricities of vineyard life, “A Good Year” presents a simplified choice between Crowe’s fast-paced London lifestyle or an earthly paradise teeming with wine and beautiful women. Needless to say, the decision is an easy one.
27.
Hannibal (2001)
Apart from Anthony Hopkins, the team that won Oscars for The Silence of the Lambs – director Jonathan Demme, actress Jodie Foster, and screenwriter Ted Tally – chose not to participate in Hannibal following the publication of Thomas Harris’s novel in 1999. The film adaptation may explain why: While the original film effectively handled the gruesome aspects of serial killers, it primarily focused on Foster’s character, Clarice Starling, a young FBI agent struggling to establish herself in a threatening, male-dominated environment. In contrast, Hannibal re-casts Foster as Julianne Moore, but then largely sidelines her in favor of a grotesque confrontation between Hannibal Lecter and a vengeful previous victim (Gary Oldman). Filming in Florence, among other eerie locations, Scott pays tribute to the ornate violence of Italian giallo, but slides into gratuitous, mindless exploitation.
26.
Exodus: Gods and Kings (2014)
In updating The Ten Commandments for the age of 3-D digital effects, Scott burned through $200 million to stage biblical miracles and plagues on a massive scale, but seems more interested in spectacle for its own sake than an expression of true spiritual conviction. Christian Bale and Joel Edgerton square off with appropriate intensity as Moses, who leads 600,000 Hebrew slaves on a perilous escape from Egypt, and his brother Ramses, the pharaoh who marshals his forces against him. Scott’s commitment to historical accuracy has him explaining the bloody Nile and the parting of the Red Sea as more natural phenomena than acts of God, but it’s never clear what religious point he wants to make. He worships at the altar of technique.
25.
Someone to Watch Over Me (1987)
1987 marked a brief peak in Tom Berenger and Mimi Rogers’ careers. Sting sang a George Gershwin classic during the opening credits, and the wave of steamy domestic thrillers following “Fatal Attraction” hadn’t started yet, as that movie had only been released a few weeks prior. “Someone to Watch Over Me” is a film reflective of its era, a decent romantic thriller that later seemed modest compared to the numerous similar films that would follow. Berenger and Rogers shared a strong chemistry as a working-class NYPD detective and the wealthy socialite he was tasked with protecting from a relentless killer. The director, J. Lee Thompson, took pleasure in capturing the moody New York high society. However, their class differences were portrayed too starkly, and the plot had a generic feel, much like one of Berenger’s suits.
24.
Black Rain (1989)
Prior to his roles in “Basic Instinct,” “Falling Down,” and “Disclosure,” Michael Douglas portrayed an extremely arrogant character in Scott’s thriller, “Black Rain.” This film centers around a troubled NYPD officer who confronts the Yakuza in Osaka, Japan. His tough-guy persona – complete with leather jacket, aviator glasses, motorcycle, and unending irritability – is exaggerated, as is the caricatured danger posed by the criminal underworld. This portrayal of Japanese dominance sparked a brief cultural panic. However, despite its questionable narrative, “Black Rain” is visually stunning, capturing the smog-filled streets of Osaka with the vividness and energy of a high-quality comic book. The film’s striking visuals can somewhat mask its problematic underpinnings.
23.
G.I. Jane (1997)
In simpler terms, the movie “G.I. Jane” by Scott, resembles his brother Tony’s work on “Top Gun,” in that both films portray military themes and glorify masculine rituals. However, unlike “Top Gun,” “G.I. Jane” focuses on a woman who enters a Navy SEAL-like program to break gender barriers. Despite facing harsh treatment and assault, she perseveres and famously says “Suck my dick!
22.
Robin Hood (2010)
1938’s beloved film “The Adventures of Robin Hood” portrays Robin Hood as a merry troublemaker, dispensing his unique brand of social and political justice with the carefree disregard and skillful panache of Errol Flynn, Hollywood’s top swashbuckler. In contrast, Ridley Scott’s “Robin Hood” is more historically accurate, suggesting that all the excitement has been removed. Instead of fun, Scott offers a gritty portrayal of 12th-century England and places Russell Crowe’s Robin at the heart of a struggle against tyranny, although wealth redistribution isn’t part of his plan. Despite this, the film’s grandeur delivers epic battle scenes filled with dramatic intensity and violence, complete with arrows falling from the heavens and armies gathering on land and sea. Essentially, it’s “Braveheart” with a bow.
21.
Body of Lies (2008)
Body of Lies, starring two globally recognized actors, raked in over $100 million at the box office, yet few can recall much about it today. This tautly directed thriller revolves around the joint endeavors of the CIA and Jordanian intelligence to dismantle a terrorist network. However, Ridley Scott’s longstanding reluctance towards political themes weakens its perspective. In terms of a cat-and-mouse chase between authorities and a terrorist mastermind, Body of Lies follows conventional patterns, but it subtly highlights an intriguing disconnect in the bond between Leonardo DiCaprio’s field operative and Russell Crowe’s analyst: The former operating in hotspots worldwide, while the latter makes decisions from his Washington D.C. office, seemingly unmindful of their real-world consequences. There’s a hint here about the overconfidence of Americans shaping Middle East policy remotely, but the details of the mission largely take center stage.
20.
All the Money in the World (2017)
In just under two months before the release of “All the Money in the World”, news about Kevin Spacey’s misconduct surfaced. Rushing to replace him, Scott cast Christopher Plummer as J. Paul Getty and swiftly re-filmed all his scenes. What stands out about this quick decision is that Plummer’s portrayal of Getty significantly impacts the film, even when he’s not physically present. In 1973, with his 16-year-old grandson kidnapped in Italy and the boy’s mother (Michelle Williams) desperate for help, Getty astonishes everyone with his coldhearted stinginess, remarking, “If I pay one penny now, then I’ll have 14 kidnapped grandchildren.” Scott effectively conveys the urgency of the situation, but it’s Plummer’s acting that captivates the most. His Getty is both a monster and emotionally detached, trapped behind a fortune that has led him to misfortune.
19.
House of Gucci (2021)
The movie “House of Gucci,” directed by Scott, showcases an extravagant portrayal of the rise and downfall of the Gucci family, renowned fashion moguls who ultimately squandered their empire due to mismanagement, internal conflicts, and a bizarre murder plot that’s hard to believe. Lady Gaga takes on the role of Patrizia Reggiani, an outsider who marries into the Gucci family and escalates its dysfunction to lethal heights. However, the diverse acting performances, such as Jared Leto’s over-the-top portrayal of a flamboyant, unsuccessful son, create a disjointed tone in the film. It’s unclear whether this is Scott recreating “American Gangster” as a grand Italian tragedy or a satirical comedy about a family destroyed by their incompetence and extravagance. Regardless, “House of Gucci” offers an engaging narrative, but it lacks a clearer identity.
18.
White Squall (1996)
Drawing inspiration from a real-life incident in 1960 where a storm sank the Albatross, a two-masted schooner serving as a seafaring school for young men, White Squall can be seen as an aquatic version of Dead Poets Society. Jeff Bridges takes on the role that Robin Williams played in the original, portraying a more complex ship captain than Williams’s boisterous “Captain, my Captain.” The students, however, lack the depth and complexity of their counterparts in Dead Poets Society, being a stereotypical group of 60s squares and rebels, more intriguing for their physical attributes than their psychological ones. Similar to Scott’s portrayal in 1492: Conquest of Paradise four years prior, the director captures the grandeur of open water. However, the film doesn’t truly come alive until the title sequence, when the now-skilled and confident shipmates are brutally humbled by the force of nature.
17.
Gladiator II (2024)
If there was even a hint of fervor or immediacy about creating a sequel to “Gladiator”, it wouldn’t have taken an astonishing 25 years to bring it to life. However, this predictable swords-and-sandals adventure merely rearranges scenes from the first film without adding depth, except for enhanced CGI that transforms the Colosseum into a shark tank. Despite Paul Mescal’s excellent acting skills, his portrayal of an enslaved soldier navigating corrupt Rome bears only a faint resemblance to Russell Crowe’s character. The dual roles of Joseph Quinn and Fred Hechinger as the city’s effeminate, malevolent emperors lack the impact of Joaquin Phoenix’s performance. Nevertheless, “Gladiator II” is the kind of visually striking production that Ridley Scott can create effortlessly in his sleep. Denzel Washington, playing a power broker who owns gladiators and harbors ambitious plans for Rome, appears to be thoroughly enjoying himself in this role.
16.
Black Hawk Down (2001)
The book “Black Hawk Down,” penned by Mark Bowden, provides a raw, firsthand narrative centered solely around American military personnel who were involved in intense urban combat in Mogadishu, Somalia, during 1993. However, this perspective presents several challenges such as lacking context for the conflict and portraying countless Somalis as faceless casualties. Scott’s account delves deep into the technical aspects of a skirmish that resulted in the loss of 18 American soldiers and over 500 Somalis. While taking an unbiased stance on a politically charged conflict may raise ethical concerns, it’s difficult to refute the skillful way Scott captures the strategic picture as well as the turmoil on the ground, creating a compelling and accurate portrayal.
15.
American Gangster (2007)
According to a New York Magazine feature on Frank Lucas, a ruthless drug lord during the 1970s, American Gangster tells a straight-forward tale of power and crime. The story revolves around a former chauffeur and protégé to Harlem’s kingpin Ellsworth “Bumpy” Johnson, who takes over the business following his boss’s death in 1968. Denzel Washington portrays Lucas as a quiet yet powerful figure, preferring to work behind the scenes but striking with brutal and often audacious force to protect his territory. His new enterprise dealing in a pure Thai heroin called “Blue Magic” attracts unwanted attention from both the criminal underworld and an Essex County detective (Russell Crowe), battling against a corrupt New York City police department. Scott skillfully weaves together this gripping gangster story with the police-corruption narrative, painting a vivid picture of a time when the city was fertile ground for lawlessness.
14.
Kingdom of Heaven (2005)
In many instances, Scott’s “Director’s Cut” versions of his films are superior to their original theatrical releases, including the extended edition of Kingdom of Heaven. This epic Crusades film boasts an additional 50 minutes and offers a more comprehensive, immersive, and nuanced perspective on 12th-century religious strife, providing valuable insights into modern conflicts between Christians and Muslims. However, no amount of editing can enhance Orlando Bloom’s lackluster portrayal as a blacksmith seeking solace in Jerusalem who later defends the city against a siege from the West. Nevertheless, Scott has demonstrated significant courage with his sympathetic representation of the Islamic world, engaging with a historically significant flashpoint that remains relevant today.
13.
Legend (1985)
Following his debut with three successive masterpieces, Scott encountered a lull when he tackled the intricately managed fantasy centered on unicorns, fairies, goblins, dwarves, and the struggle to prevent an evil entity embodying Darkness from invading a magical forest realm. Although Tom Cruise’s nimble performance as the savior and Mia Sara’s portrayal of the chaste princess lack depth, the straightforward narrative is appropriate in Legend. Surprisingly, it surpasses its popular perception, particularly in a director’s cut that runs approximately 20 minutes longer than the initial release, reinstating an enthralling Jerry Goldsmith soundtrack. The film’s universe presents a breathtakingly stunning forest, seamlessly blending allure and peril, capable of transitioning from a serene paradise in one sequence to a dark Grimm fairy tale setting in the next.
12.
Matchstick Men (2003)
In the film “Matchstick Men”, unlike other characters who rise above their disabilities, triumph lies in becoming the best crook possible. The protagonist, portrayed by a dedicated Nicolas Cage, is a con artist grappling with OCD and Tourette’s. His sidekick, played by Sam Rockwell, brings humor to their scam involving pool filtration systems. Co-written by Ted Griffin of “Ocean’s Eleven”, the script is filled with clever twists and frequent laughter. However, what makes “Matchstick Men” unique is its exploration of deeper themes, particularly Cage’s bond with his 14-year-old daughter (Alison Lohman), who he never knew existed.
11.
Napoleon (2023)
In Scott’s movie “Gladiator,” Joaquin Phoenix donned the greased armor and embraced the role of the charming yet psychopathic Commodus, a common trope in sword-and-sandal epics. He revisits this formula with Scott again, portraying Napoleon Bonaparte. Though his military brilliance is undeniable, it fails to surmount the walls of his self-centered arrogance. The film “Napoleon” offers Scott a chance to delve into grand battle sequences reminiscent of films like “Kingdom of Heaven” and “Exodus: Gods and Kings,” notably the Battle of Austerlitz where cannon fire is used to shatter a frozen lake. However, it’s Phoenix’s performance that ties this brief historical account together, with his stormy relationship with Empress Joséphine (Vanessa Kirby) being a key focus. Not shy of portraying foolishness, Phoenix hints at the lethal consequences of a leader who is not only small in stature but also in many other ways.
10.
The Last Duel (2021)
In this project, director Ridley Scott is masterfully handling the collaboration between Ben Affleck and Matt Damon for a screenplay since “Good Will Hunting”. However, it’s worth noting that Nicole Holofcener also contributed significantly to the script. Scott skillfully navigates the graphic violence and gruesome aspects of a medieval realm where trial by combat is still an option.
9.
Gladiator (2000)
The only movie by Scott to receive the Best Picture award, yet he never won Best Director – losing out this time to Steven Soderbergh’s Traffic – Gladiator is reminiscent of grand sword-and-sandal epics like Ben-Hur and Spartacus, reimagined for the era of CGI. The grandeur of Gladiator likely contributed more to its Oscar win than its debatable depth. However, Russell Crowe’s raw charm as a charismatic hero propels the narrative forward, as his fallen general overcomes betrayal, enslavement, and numerous life-or-death battles to avenge himself against the despotic villain (Joaquin Phoenix) who brought about his downfall. Despite being adorned with digitally enhanced landscapes that have become less impressive due to advancements in technology, the film is a timeless tale of heroism, built on family tragedy and reinforced by the resolve of an oppressed man seeking justice. Interestingly, this Best Picture winner might be more revered if it hadn’t triumphed.
8.
Alien: Covenant (2017)
With his sequel to Prometheus, Scott edges away from the earlier film’s arty peculiarities to create something closer to a traditional entry in the Alien franchise, albeit still defined by austere craftsmanship, ornate celestial architecture, and some heady ideas about humanity facing its own extinction. It also develops David, the android played by Michael Fassbender, into a terrifically cold-blooded villain, whose agenda runs counter to the crew and colonists that make an unexpected landing on the alien-infested planet of Origae-6. Katherine Waterston steps up as a capable Ripley type who leads an increasingly decimated team through the paces, and Fassbender, in a dual performance as David and the kinder next-gen Walter, embodies both the promise and threat of artificial intelligence. The series Scott wound up starting with Alien had shifted into action-adventure in Aliens and the subsequent sequels, and here he takes it back to its cold, clinical roots.
7.
Prometheus (2012)
The way Scott’s latest work is similar to the sci-fi/horror that kickstarted his career can be described as being reminiscent of “Alien” – he himself referred to it as sharing some genetic material with “Alien” at the time. However, this project, titled “Prometheus”, is a bit of an enigma, serving as a prequel to the franchise and aiming to deliver the bone-chilling monster-movie suspense that the series is known for. Working alongside Damon Lindelof, co-creator of “Lost”, Scott expands upon Jon Spaihts’ original screenplay, creating a complex mythology revolving around astronauts seeking their creators, called “the Engineers”, and the perils they encounter on their voyage. Unraveling the intricate symbols and mysteries in this movie requires a lot of time and repeated viewings, not to mention reconciling these abstract themes with the expected jolts of alien terror. Yet, Scott’s determination to lead the “Alien” series down an unforeseen and eerily captivating path proves to be rewarding.
6.
The Counselor (2013)
Amongst Scott’s films, one of his least popular yet arguably finest works is worth noting. While much praise should go to Cormac McCarthy for penning the original screenplay, his influence in this movie surpasses that seen in the Coen brothers’ adaptation of “No Country for Old Men.” The film revolves around a standard plot about an amateur crook (Michael Fassbender) attempting to manage a $20 million drug deal with a Ciudad Juarez cartel. McCarthy delves deep into the depths of human wickedness, and the abyss mirrors back just as relentlessly.
5.
The Martian (2015)
In many films, qualities like determination and survival instinct are glorified, but The Martian, adapted from Andy Weir’s novel, takes this one step further by emphasizing the crucial role of knowledge and intellectual prowess in achieving the seemingly impossible. When astronaut Mark Watney (played by Matt Damon) is stranded on Mars after being presumed dead due to debris injuries and dwindling oxygen supply, he must ingeniously devise ways to sustain his life on an inhospitable planet, clinging onto hope for rescue. Although The Martian exudes a positive outlook that contrasts sharply with the hopelessness of Alien, they both share a survivalist essence born from a lone character who defies the apparent inevitability of defeat. During an era when scientific method is sometimes ridiculed in certain political spheres, there’s a comforting appeal to watching a film that portrays straightforward problem-solving as heroic.
4.
Thelma & Louise (1991)
In my perspective, there were instances where Scott’s grand directorial approach seemed mismatched with Callie Khouri’s script, which delves into the intimate lives of women on the run. However, over time, the expansive nature of ‘Thelma & Louise’ has become more fitting – even iconic at certain points. This film is a testament to the power and freedom embodied in the American road trip, but it’s the image of two women fleeing, initially for adventure and later for escape from societal constraints, that truly resonates. The chemistry between Geena Davis and Susan Sarandon is exceptional, their characters beautifully written to contrast yet reveal shared yearnings for an escape from their mundane, working-class existences. Reflecting on its finale, it’s remarkable how deeply ‘Thelma & Louise’ has etched itself into the feminist discourse, symbolizing friendship, self-discovery, and rebellion, regardless of the journey’s outcome.
3.
The Duellists (1977)
In his groundbreaking first film, Scott is said to have drawn inspiration from the lavish backdrop of Stanley Kubrick’s “Barry Lyndon” two years prior, but the protracted conflict in “The Duellists” shares a resemblance with some of Kubrick’s anti-war productions. Keith Carradine and Harvey Keitel portray French soldiers serving under Napoleon, who harbor a prolonged grudge that erupts into duels, tournaments, and ultimately gunfights at dawn. From the outset, Scott’s command of genre and appreciation for natural aesthetics are evident, and he cleverly satirizes the conventions of this unending feud, which can only be temporarily paused when Carradine holds a higher rank or whenever Napoleon assigns them to fight. As time passes, their rivalry gradually swallows up their entire existence, making reconciliation unattainable and escalation inevitable. This is a nuanced representation of how nations may drift towards war.
2.
Blade Runner (1982)
The groundbreaking film “Blade Runner” significantly shaped the depiction of science-fiction dystopias and neo-noir aesthetics in numerous genre movies, particularly those featuring glamorous cities shrouded in rain and shadow. The initial shots portray a 2019 Los Angeles that’s been dramatically altered by technology (like flying cars!) and pervasive advertising. On the ground, scenes foreshadow the chaos and risk associated with synthetic beings infiltrating society, overpowering their creators. The studio-imposed voiceover for the theatrical release was a misstep; it was neither praised by critics nor embraced by audiences at first. However, the director’s cut (and eventually “The Final Cut”) offers a more concentrated perspective on Rick Deckard (played by Harrison Ford), a hard-boiled cop tasked with tracking down a group of rogue replicants. Through his perspective, we traverse a world that was once believed to be under human control but has slipped away. The debate over whether Deckard is human or replicant serves as an intriguing philosophical discourse on the essence of humanity. Ridley Scott’s stylish production hints at a future where technology holds so much power that such distinctions may no longer matter.
1.
Alien (1979)
In the sequels of the ‘Alien’ series, the battles between humans and terrifying aliens have become chaotic spectacles, often overshadowing the haunting simplicity of the original film. With just one creature, the ‘Alien’ managed to wreak havoc on the crew of a deep-space mining vessel, which was unprepared for such a threat. A contender for some of the best horror films ever made, ‘Alien’ draws heavily from the silent grandeur and eerie feeling of isolation found in Stanley Kubrick’s ‘2001: A Space Odyssey’. Sigourney Weaver’s portrayal of Ellen Ripley, a warrant officer who stands her ground against the alien menace, is an iconic symbol of strength and resilience. However, Ripley is more than just a strong-willed character; she is also a principled leader, ready to make the tough choices that true leadership requires. If her decision to keep an infected crew member off the ship isn’t overturned by her subordinates, the alien never even sets foot on the vessel. ‘Alien’ offers a chilling vision of what a real encounter with extraterrestrial life might entail, with Ripley facing off against a mysterious and hostile entity without the means to stop it.
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2024-11-20 23:56