Director Ridley Scott told Deadline in 2023 that he’d been offered to direct superhero movies, but that it wasn’t for him, after telling them in 2021 that modern superhero movies are “no fucking good” and “boring as shit.” He said he’d already directed at least 3 superheroes: Ellen Ripley in Alien, Rick Deckard in Blade Runner, and Maximus Decimus Meridius in Gladiator. “The difference is,” Scott said, “the f*cking stories are better.”

The case can certainly be made that Ridley Scott has brought some of the best stories to screen that we’ve ever seen, and Alien, Blade Runner, and Gladiator are among them, but what about his more modern fare? Are the stories for House of Gucci, The Last Duel, and Napoleon “better”? Ridley Scott hasn’t had a movie achieve both critical and commercial success since 2015’s The Martian, which begs the question: WTF happened to Ridley Scott? Did tragedy take his passion on an afternoon in August of 2012? Is this just a seasonal lull before his next great effort, or has the industry passed him by?

We can’t know if it’s ended without knowing how it started, so let’s start at the beginning.

Ridley Scott was born to a military family on November 30, 1937, in South Shields, England. He grew up with an older brother, Frank, and a younger brother, Tony, who followed Ridley into the directing profession and with whom Ridley forged a bond of friendship. Tony followed Ridley to the Royal College of Art and then to his commercial production company, Ridley Scott Associates (RSA). Early on, Ridley received the advice to “take no prisoners. Apologize for nothing. And be assertive.” Scott took it to heart.

Scott leveraged his commercial success to commission Gerald Vaughan-Hughes to write an adaptation of Joseph Conrad’s short story The Duel. Scott and producer David Puttman pitched it as The Duellists to Paramount and secured $800k in funding and lead actors Keith Carradine and Harvey Keitel.

2023’s Napoleon has been referred to as “Ridley Scott’s Barry Lyndon,” but he already made him in 1977. For The Duellists, he considered 1975’s Barry Lyndon an inspiration and his movie an homage. Some scenes and shots from each movie look like they could be transplanted into the other. Ridley was also inspired by Western films, particularly John Ford’s The Searchers.

As a standalone movie, critics say The Duellists presents as methodical and intimate, if a bit uneven in its pacing and approach. It features gorgeous settings, meticulous staging, and visceral action. It would net Ridley Scott the “Best First Work” award at the Cannes Film Festival in 1977 and was nominated for the Palm d’Or, the festival’s greatest prize. Though it wasn’t a commercial success, The Duellists legitimized Ridley Scott as a film director well worth investing in.

Ridley Scott would offer a tremendous return on the investment with his next film. 1979’s Alien wasn’t the first horror science fiction, but it was perhaps the first to blend the genres so proficiently as to be considered by audiences and critics as both one of the greatest horror movies and one of the greatest science fiction movies of all time. It spawned a franchise that has persisted for over 45 years.

Sigourney Weaver’s Ellen Ripley was not the first female action hero, but Alien stands as a landmark film for depicting tough, capable women in film. Critics found Alien to be brilliantly atmospheric, legitimately scary, genuinely surprising, and truly memorable, a landmark seminal film across genres. H. R. Giger’s conception and Carlo Rambaldi’s execution of the titular Alien won them the Oscar for Visual Effects. The film was also nominated for Art Direction.

Ridley’s next project, 1982’s Blade Runner, was underappreciated upon its release, but the film has a reach far exceeding its initial reception. Few films have aged better, stylistically or thematically.

Blade Runner is, according to critics, an intriguing story wrapped in an incredible production. The movie explores the inadequacies and futility of our definition of humanity. The groundbreaking visuals and unforgettable soundtrack combine to present a mysterious, daunting look at a potential future that leaves a lasting impact on viewers. Author and philosopher Mark Rowlands called the “tears in rain” monologue “the most moving death soliloquy in cinematic history.” 2017’s Blade Runner 2049, directed by Denis Villeneuve, is a worthy successor, and it makes you wonder why Ridley’s own recent films haven’t consistently captured some of his original magic.

Scott helped introduce the Apple Macintosh into the public consciousness with a landmark Super Bowl commercial in 1984. Titled 1984 and a direct invocation of George Orwell’s novel of the same name, it presents the Apple Macintosh personal computer as the redeemer against the tech establishment, then dominated by IBM. The commercial reportedly carried a budget greater than Ridley Scott’s first feature, The Duellists. 1984 would turn Apple into a household name. Apple would go on to become the biggest company in the world by many measures, and Ridley Scott’s direction was a catalyst. Ridley Scott continued to direct commercials, earning over 2000 commercial credits in his illustrious career.

Ridley Scott next directed 1985’s Legend, which is standard fantasy fare that doesn’t offer much substantive or innovative when it comes to the story. Because it’s Ridley Scott, the production design is largely unassailed by critics. The makeup and costuming for Tim Curry as Darkness stands out. Critics would say that Ridley Scott could have taken a great command of his actors’ delivery, which could have made the outlandish story and setting at least a bit sympathetic.

1987’s Someone to Watch Over Me was a distilled police thriller with romance as central to the story and also a financial flop. It’s hard to blame Ridley Scott here for the lack of success, as the depiction of Manhattan and the lead actors’ performance was well-praised.

Ridley Scott released the similarly shallow but stylish Black Rain in 1989, but this film was a box office smash, bringing in over $134M on a $30M budget. It would also earn Oscar nominations for Best Sound and Best Sound Editing. If you want a cop drama that is equally gritty, glitzy, and just SO 80s, this might be the film for you.

Scott would next direct the 1991 film, Thelma and Louise. Like Alien before it, Scott took typically male-dominated archetypes and instead presented the palpable chemistry present in the on-screen friendship born from fate. Geena Davis’ Thelma and Susan Sarandon’s Louise were universally praised for their portrayals. They were presented in a way that was rare before and even rare since, empowered by violence and in the driver’s seat of their own fates, even as they’re pursued by “the man.” Critics would praise Ridley Scott for painting the setting with an able brush. The movie was a critical and box office success, earning over $45M on a $16.5M budget. It also granted Ridley Scott his first Best Director Oscar nomination.

1992’s 1492: Conquest of Paradise isn’t as beloved, particularly because, as critics would say, it’s not a nuanced or balanced portrayal of Gérard Depardieu’s as Christopher Columbus. Because it’s Ridley Scott, the settings were praised as both grand and fitting, but the movie had a tremendous opportunity to say something and didn’t.

Scott directed 1996’s White Squall, which received mixed reviews and performed poorly at the box office. Critics called it a visceral experience, and Jeff Bridges shines in the lead role. It was released during a low season and against tough competition, and audiences were perhaps turned off by its long runtime and heavy-handed messaging. The marketing struggled to offer a selling point that worked.

Ridley Scott continued to champion strong female leads with 1997’s G.I. Jane. The film performed poorly upon release but has since garnered a cult following. According to critics, the pacing can be distractingly uneven, but the actors play off each other well, the message resonates, and Demi Moore is well-suited for the demeanor and physical presence of the lead role.

Scott returned to form with 2000’s Gladiator. It grossed a lifetime of $766M on a $103M budget. It earned Scott another Best Director nomination at the Academy Awards and won 5 Oscars, including Best Picture. It speaks to Gladiator’s longevity and impact that a 2022 re-release exclusive to the United Kingdom grossed nearly $40M.

Ridley Scott’s craft shines throughout Gladiator, as he proficiently transports the viewer into Ancient Rome and, according to critics, gets star-making performances out of Russell Crowe and Joaquin Phoenix. The action, the set pieces, and the intimate moments all approach perfection in a film that is as engaging as it is meticulously executed.

Anticipation and excitement for a sequel to Jonathan Demme’s 1991 masterpiece The Silence of the Lambs bore fruit for Ridley Scott’s next project, the 2001 sequel Hannibal. It grossed over $350M on an $87M budget. Critics were less kind than audiences, citing the film’s inability to stand alone, as it lacks the subtlety and the chemistry between Anthony Hopkins’ Hannibal Lecter and Jodie Foster’s Clarice Starling that helped make the initial entry so beloved. Instead, Hannibal leans more into camp and gore, with mixed results.

Scott continued his string of hits with 2001’s Black Hawk Down, which earned $212M at the box office on a $92M budget and earned him his third Best Director Oscar nomination. The film was praised for its tight action and its modern depiction of warfare. Black Hawk Down isn’t perfect (many of the characters are either empty or a caricature), but it grabs you and never lets you go.

Ridley Scott’s next project was 2003’s Matchstick Men. Well-received by critics, it faced stiff competition at the box office, including the first Pirates of the Caribbean movie, Finding Nemo, and The Matrix Revolutions. Critics found it easy to get into Matchstick Men’s characters due to the performances Ridley Scott was able to get out of Nicolas Cage, Sam Rockwell, and Alison Lohman. The film competently oscillates between multiple genres, from black comedy to crime drama. It’s enjoyable without asking too much of the viewing audience.

With 2005’s Kingdom of Heaven, Ridley Scott took on a risky subject matter and delivered his usual grand spectacle. Though the movie underperformed in the United States, it found its audience in Europe. Critics would say the battle scenes stand up to Scott’s best, but Orlando Bloom’s leading performance underwhelmed, the movie suffers from distracting lulls, and it misses an opportunity to make a larger statement on its themes.

Scott would next collaborate with Russell Crowe for the second time in 2006’s A Good Year. Unfortunately, critics would find both Scott and Crowe poorly suited for the romantic comedy, and this was reflected in its critical and commercial success. Scott presents the film with his usual visual flair, but the film’s predictable plot discourages investment.

2007’s American Gangster is worth investing in. Critics found it to be respectful to the gangster movies that proceed with it, while presenting an intelligence and lead performance by Denzel Washington compares favorably to any of them. The rivalry and moral contrast between Washington’s Frank Lucas and Russell Crowe’s Richie Roberts focus the film. One of the few criticisms of the film is that Washington comes across as too likable for a ruthless criminal. American Gangster is tightly produced and paced, drawing you into its world as few movies do.

Ridley Scott next directed 2008’s Body of Lies. Despite Leonardo DiCaprio and Russell Crowe in top billing, the movie failed to resonate with critics or audiences. Audiences had begun to sour on the film’s “spy vs terrorist organization” premise, which the movie underexplored, instead relying on cliché approaches to telling the story. Critics would say that Crowe underperformed in his role, and the movie is often predictable. It doesn’t lack for spectacle, but it does lack much of a point.

Scott and Crowe returned to the big screen in 2010 with Robin Hood. It made $322M at the box office, but it barely broke even with a massive $200M production budget. Critics said the movie offers an original take on the titular character, but the overarching narrative has been told before and since. Scott delivers the violence with a deft hand but doesn’t offer the pure enjoyment of some of his other offerings.

June 2012 saw the release of Ridley Scott’s Prometheus, a prequel to Alien. It was praised as a visually stunning movie that, unfortunately, affected major implications for the Alien cinematic universe that not all fans appreciated. It probably would have been fine if it wasn’t an Alien movie. But it is! So, it sucks. It didn’t suck at the box office, raking in over $400M. Apart from the visuals, much of the movie comes off as underdeveloped, such as the inconsistent script and unlikable characters. But primarily the forced connection to the Alien franchise alienated some film fans.

In August of 2012, Ridley Scott was on the phone with his brother and business partner Tony Scott, a fantastic director in his own right, who directed back-to-back hits Top Gun and Beverly Hills Cop II and the fantastic True Romance and Crimson Tide. The treatment for and ravages of Tony’s third cancer diagnosis had left him unable to do what he loved, to create consistently and especially to mountain and rock climb, a practice that helped motivate and focus him. In 2023, Ridley recounted climbing with Tony in their youth, losing his footing, and his younger brother repeatedly telling him, “I got you.” On the phone call, Ridley noticed a somber tone in his brother’s voice and worked to encourage him by suggesting projects for him. What Ridley didn’t know is that, immediately after hanging up the call, Tony would take his own life.

The world lost an influential director that day, and I think Ridley Scott lost a piece of himself. Remembering his brother in 2014, Ridley told Variety of Tony’s “inexplicable” passing, “I miss a friend.” Not a brother, not a business partner, a friend.

Ridley Scott’s next directorial effort was The Counselor in 2013. For this era of Scott, it ran a low budget, at a lean $25M. I would think most of that went to the loaded cast featuring Javier Bardem, Penélope Cruz, Cameron Diaz, Michael Fassbender, and Brad Pitt. Scott blames the marketing for the movie’s poor performance, but critics blame it on uneven execution and tone, overreliance on extended dialogue and on the source material, and a lack of originality.

Movies based on biblical stories can tend to do better at the box office than with critics, and 2014’s Exodus: Gods and Kings is no exception. It earned back its massive budget and presents a brilliantly realized Ancient Egypt. Critics said it just struggled to justify the retelling of an age-old story or to give audiences someone to root for absent the established context.

Ridley Scott’s latest great movie was 2015’s The Martian. Critics praised it as epic yet intimate, successfully wrapping the mundane with the spectacular, balancing bleakness with humor, especially from Matt Damon’s Mark Watney. The escalation to the climax is earned and the climax itself is brilliantly presented. It grossed $631M on a $108M budget, was nominated for 7 Oscars, including Best Picture, and stands as a true win for Ridley Scott during a trying time in his life.

Like Prometheus before it, 2017’s Alien: Covenant probably bothered fans of the first two Alien films more than anyone else. It ignored some of their conventions and tried to introduce unwelcome new ones. Critics found that, somehow, the Androids are the only compelling characters, but the action and visuals are well-executed.

All the Money in the World didn’t make “All the Money in the World” – $57M worldwide box office against a $50M production budget –but critics adored it, especially Christopher Plummer’s performance, with some implying that it worked because Ridley Scott got out of the way of the performances and script. How they could possibly know that is beyond me.

The Last Duel in 2021 was similarly a financial flop – earning $30M on a $100M budget – and a critical success. Critics would praise the cast that lives up to their billing, even if it feels like Ben Affleck is playing himself. It would be easy to say this movie is what would happen. The Duellists took place 400 years earlier and were produced 45 years later, but the core grievance is a much more substantial one, so the violence isn’t as futile. The film offers a welcome focus on the women whose fates are dictated by the brutality and stubbornness of men, especially Jodie Comer’s Marguerite de Carrouges. The movie can be a slog, but the titular duel is a testament to Ridley Scott’s craft, beautiful and elegant, brutal and epic.

Ridley Scott blamed millennials for The Last Duel’s lack of financial success, but it was more likely down to the market climate, the marketing, or the movie itself. It’s extremely dark, not just literally, but thematically, with graphic depictions of sexual and physical violence, and maybe that’s not what most audience members were looking for, in the middle of a “global pandemic”.

House of Gucci saw moderate success and was met with mixed reviews. Adam Driver and Lady Gaga’s performances and chemistry were praised, and some critics liked the shifts between melodrama and classic drama. In contrast, some considered the film disjointed tonally and inadequate on both fronts.

Ridley Scott’s 2023 epic Napoleon couldn’t make back its $200 production budget. Critics would praise the spectacle, action, and world-building. Reviews of Joaquin Phoenix’s performance were mixed at best, and the movie compared unfavorably to other biopics, with its detached story that lacks a true soul. Scott would say to critics of the film’s historical inaccuracies, “Were you there? No. Well, shut the fuck up, then.”

In many ways, Napoleon Bonaparte parallels Ridley Scott, from their rapid ascent to their, at times, irrational confidence, especially to make something out of nothing. Scott admits that he makes hasty, seemingly random decisions. They’re both tough to pin down, with Scott expressing diverse themes and styles in his movies that span nearly every genre. Scott’s sets have been described as militaristic, and he firmly believes that there needs to be one definitive voice commanding the effort.

All these years and movies later, Ridley Scott still says, “I love the physicality of the job.” Even if his recent failures outweigh his recent successes, his resume and don’t give a f*ck attitude command respect. Many criticisms of his less-successful films come down to issues with writing rather than direction, and often, box office success comes down to marketing and timing. Should he have been more discerning? Is, as Shakespeare writes, discretion the better part of valor?

Furthermore, is directing, as Quentin Tarantino says, “A young man’s game”? Or, as Ridley Scott pushes 90 and his director credits eclipse 30, not to mention his 100s of Producer credits and over 2000 commercials, are there still great movies on the horizon for him? I certainly hope so, starting with Gladiator 2 in November of 2024.

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