Every Ridley Scott Movie, Ranked
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With nearly 50 years of moviemaking under his belt, Ridley Scott has done it all. From thrillers to period dramas, many of his films—Alien, Gladiator, and Blade Runner, ever heard of them?—are considered classics. Plus, some of his recent films, including 2015’s The Martian, may very well be on their way. (You can hash that out in the comments.)
Scott’s latest film, Napoleon, hit theaters last week, marking another crack at a historical epic in his catalog. Oscar-worthy? We’ll find out, but with three Best Director wins and one Best Picture honor under his belt, you should know better than to count the 85-year-old director out of awards season.
So, why not celebrate the cinema legend's big-screen return with an evaluation of all that's come from his camera. Below, take a look at this list of Scott's films, ranked from worst to best.
1492: Conquest of Paradise (1992)
Released on the 500th anniversary of Columbus’s voyage, 1492: Conquest of Paradise follows the explorer’s venture into the New World. Are there historical inaccuracies? Yes. To the point of being problematic and potentially dangerous? Also yes.
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Exodus: Gods and Kings (2014)
Exodus: Gods and Kings rehashes the story of Moses with an emphasis on over-baked spectacle and Christian Bale in a chainmail skirt. It doesn't really work, but it has plenty of cool CGI, if that’s your thing. Thousands of ick-inducing frogs, for instance, and other more terrifying curses from on high.
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A Good Year (2006)
In A Good Year, Max (Russell Crowe) leaves his gig as a day trader in London behind for the gorgeous fields of Provence, taking over an estate he inherited from an estranged uncle. Unable to decide if it's a rom-com or drama, the movie struggles to find a consistent tone and, occasionally, is even downright saccharine. To Crowe’s credit, some of the comic bits land. Most do not.
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The Counselor (2013)
You would think that with Scott and Pulitzer Prize winner Cormac McCarthy at the helm, The Counselor would have been a surefire success. Instead, we got a poorly-paced crime thriller that goes heavy on the rumination and less so on the suspense. Michael Fassbender stars as the slick lawyer who gets into the drug trade—and, inevitably, into hot water with the cartels.
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Robin Hood (2010)
This is not your grandma’s Robin Hood. In this Russell Crowe-vehicle, Scott finds a darker angle to the legend, portraying the outlaw as a grim, self-serious vigilante. Personally, I prefer the Disney version with the foxes and the singing. (You will too.)
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Black Rain (1989)
Set in the streets of Osaka, Black Rain follows Michael Douglas as an NYPD cop who is tasked with extraditing a mafioso back to Japan. When the culprit escapes, clashes with the Yakuza ensue. Douglas navigates a world of volatile gang warfare, discovering a revenge plot that has been decades in the making in this smoke-filled, atmospheric thriller. Unfortunately, there's not too much to celebrate in Black Rain other than Douglas's sturdy performance.
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House of Gucci (2021)
House of Gucci shows the rise and fall of Patricia Reggazini and her husband Maurizio, who is heir to the Gucci fashion empire. The full-on styling makes for an exceedingly fashionable film, but the ensemble of stars—Adam Driver! Lady Gaga! Al Pacino! Jared Leto!—never feel like they're in the same movie at any point. There are delights to be had between the ridiculous accents and make-up full swings, but a good film, this isn't.
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Someone to Watch Over Me (1987)
In Someone to Watch Over Me, Scott's penchant for thrillers and NYPD cops is back on display with Tom Berenger starring as Detective Mike Ross. He's tasked with protecting a Manhattan socialite—whom he promptly falls in love with. Lots of strained, longing looks ensue. Watch it for a vintage we're from two different worlds! romance, but don't plan on ever seeing it again.
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Legend (1986)
Scott delivered a gothic fairytale in Legend, which follows a young farm boy (Tom Cruise) in his quest to stop darkness—quite literally. (The Lord of Darkness is played by the ever-watchable Tim Curry). With the help of some fantastical creatures, Cruise’s Jack must save the unicorns in order to stop the world from becoming enveloped in eternal night. Yeah, it's pretty weird, and the plot isn't compelling enough to drive its meager runtime. But if you're a Scott completionist, Legend's visuals and worldbuilding will impress you, at the very least.
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Body of Lies (2008)
Scott tackles the war on terror in Body of Lies, with Leonardo DiCaprio playing a CIA operative, named Roger Ferris, whose mission is to find a terrorist in Iraq. Over the course of the film, Ferris clashes with his handler (Russell Crowe) while falling for a nurse (Golshifteh Farahani). Eventually, he resorts to creating a faux terrorist group in order to draw his target out of hiding. But the operative’s skill set and the plot that surrounds it are too fantastical, reducing what could have been a high-octane, intelligent film just a cheap thrill.
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GI Jane (1997)
To those who just don’t get GI Jane—or gave Demi Moore flack for her performance—I just don’t know what to say. A strong female lead, visceral action sequences, and a twist that actually works? GI Jane is not perfect, but it is fun. In the film, Moore’s Lt. Jordan O'Neil undergoes Navy SEAL training; she is the first and only woman to do so, functioning as a test to determine whether the program should integrate women. During the training, she encounters not only the grueling physical obstacles—which cause over half of the trainees to drop out—but ideological ones, too. (See: unsurprising sexism from her fellow trainees.) If you're wondering where Ridley's catalog begins to pick up, look no further.
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Hannibal (2001)
Following up Silence of the Lambs is an impossible task, but Scott gives it a more than decent shot. Clarice, now a jaded FBI agent working the desk, is pulled once again into the chase by a loose Hannibal Lecter (Anthony Hopkins). Also at play is Mason Verger (Gary Oldman), Hannibal’s ex-patient, whose face was fed to dogs by the psychiatrist. Expect a solid amount of scares—Hopkins is never anything less than terrifying as Lecter.
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Napoleon (2023)
Scott's latest historical epic is a little confounding, to say the absolute least. On one end, Napoleon features some of Scott's best setpieces, including reenactments of Austerlitz and Waterloo that are impressive enough to vault the film halfway up this list. That said, Joaquin Phoenix's uneven (and occasionally campy!) turn as the French military commander—plus a strange depiction of his admittedly bizarre love life—keeps Napoleon from reaching the upper echelon of Scott's filmography.
In theaters
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White Squall (1996)
Based on a true story, White Squall sees a group of teenage boys and their captain (Jeff Bridges) navigate the perils of young adulthood and the sea. That may sound like a cliché—and sure, in some places, this movie absolutely is—but overall, it's satisfying, well-paced, and bolstered by strong performances. Think Dead Poets Society on a boat.
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Alien: Covenant (2017)
Alien: Covenant picks up where Prometheus left off... kind of. After the freak-accident death of their captain, the Covenant crew picks up a signal and lands on a deformed planet to check it out. Sound just a bit familiar? Encounters with Xenomorphs—as well as familiar faces from Prometheus—make for good popcorn fodder, even if this film doesn't really answer any of its predecessor's questions. (Like the origin of humanity, for one.) Bonus: Danny McBride in a dramatic role. It works!
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Kingdom of Heaven (Director’s Cut)
Kingdom of Heaven's theatrical cut is watchable—but its director’s cut makes it great. Philosophical, probing, and beautifully shot, Kingdom of Heaven is loosely based on the events of the siege of Jerusalem, tracing the origin of Balian (Orlando Bloom) from dispirited blacksmith to savior of the Holy Land. Plus, it features a stellar Eva Greene performance.
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All the Money in the World (2017)
Sensing a theme here? Scott definitely has a soft spot for the crime biopic. All the Money in the World follows the infamous kidnapping of John Paul Getty III and his grandfather’s refusal to pay his ransom. If you can forget about the drama that surrounded the film (see: reshoots and pay gap issues), it's a solid thriller.
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The Duellists (1978)
Scott's feature film directorial debut, The Duellists, is a historical epic that centers on a rivalry between two Napoleonic soldiers. Authentic and wide in scope, it's a pristine example of Scott’s ability to weave dense historical detail and visual beauty into an irresistible plot. Looking for an appetizer to Napoleon? This is it!
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The Last Duel (2021)
Thought-provoking and innovative, The Last Duel is based on the true story of a rape allegation in 14th Century France. Told from three different vantage points, Scott makes the case that searching for truth can often be a muddy affair. This one didn't hit at the box office, but it'll stand the test of time.
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Prometheus (2012)
You know who was disappointed when Prometheus first came out? Everyone. You know who was wrong about Prometheus when it first came out? Everyone. The director's visually stunning 2012 addition to the Alien series demonstrates Scott's strength for remixing his source material into something new. In search of answers regarding humankind’s creation, a crew of scientists visits an unfamiliar planet, where they come across—and explore—a dilapidated, otherworldly spacecraft. What could go wrong? Watch to find out, and enjoy the heady rumination on good and evil that follows.
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Black Hawk Down (2002)
In Black Hawk Down, Scott expertly conveys the horrors of war without being didactic. The film, based on a true story, follows a group of American Special Forces in Somalia who, when two helicopters are downed, are suddenly faced with catastrophe. Gripping but graphic, you'll need to pass on this one if you have a weak stomach, but those who dare will be rewarded with a remarkable piece of filmmaking.
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Matchstick Men (2003)
Con-artistry, daddy issues, and Nicolas Cage? Sign us up. Matchstick Men is about a whole lot more than pulling jobs, though. Scott deftly portrays a sensitive and twisty narrative of a con artist reconnecting with his daughter, making for a hilarious and deeply touching film.
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American Gangster (2007)
Another crime biopic, American Gangster follows drug kingpin Frank Lucas (Denzel Washington) and the cop determined to track him down (Russell Crowe). Set in 1970s Harlem, the film sees Lucas rise through the ranks of the mafia to become top dog, controlling the flow of heroin into the city. Naturally, the violence is part and parcel, but this is much more than just a gory gangster flick—it's a mediation on what it means to make it in America. Plus, we're always here for a vintage Denzel Washington performance.
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The Martian (2015)
The Martian is as uplifting as it is stress-inducing. (And it's really fucking stress-inducing.) Astronaut Mark Watney (Matt Damon) is tasked with surviving alone on the little red planet after his crew abandons him on Mars. Highly engaging and almost painfully insular, Scott and screenwriter Drew Goddard managed to make a hell of a movie about tiny scientific victories. This is Scott and Damon at their best.
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Thelma and Louise (1991)
In Thelma and Louise, two women drive a 1966 Thunderbird into the American southwest—and the best of Hollywood history books. Roving, political, and expertly paced, Thelma and Louise is Scott’s most sensitive film; it's a story of autonomy and female friendship disguised as a crime thriller. Remarkable in his ability to mold genres to his own vision, Scott takes the road-trip movie and makes it his own, delivering a true Tinsel Town classic and, yes, an iconic ending.
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Gladiator (2000)
After the murder of his wife and son, fallen army-commander Maximus (Russell Crowe) finds himself fighting in the gladiatorial pits of Ancient Rome. Eventually, he gains enough influence to take on the emperor (Joaquin Phoenix). Gladiator is as much about redemption as it is about the plight of the underdog, and it's Scott’s technical skill as director that makes the ancient setting an enhancement rather than a distraction to the film’s core narrative. Truly epic in scale, Gladiator earned Scott his first and only Academy Award for Best Picture. If you're someone who finds yourself thinking about Ancient Rome a few times a week, maybe Gladiator is a reason why?
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Blade Runner (1982)
Blade Runner was considered a flop upon its initial release in 1982. Since then, fans and critics saw the film for what it was: a remarkably imaginative view of a dystopian future. Haunting, visually stunning, and downright thrilling, Blade Runner follows police detective Deckard (Harrison Ford) on his hunt for androids in an industrialized, rain-laden Los Angeles. Blade Runner’s world is one that sticks with you long after the credits roll. Same goes for the themes it explores, including—but certainly not limited to—the reliability of our own memories, and the looming perils of artificial intelligence. (Don't even get us started.) It's the pinnacle of dystopian sci-fi.
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Alien (1979)
Alien is a masterpiece. The sci-fi classic follows the crew of the Nostromo and their investigation of a distress signal in deep space—and what comes back aboard with them. At once claustrophobic and new-age, Alien's impact on the genre cannot be overstated. Scott had the ingenuity to impose the twists and turns of a thriller on an original, smart, and downright horrifying sci-fi plot. All of it, of course, is bolstered by a legend-making turn from Sigourney Weaver as Ellen Ripley, who would inspire countless action heroes over the following decades. If you've somehow never seen Alien, you should probably watch it before someone spoils that one scene for you.
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