Tag Archives: Ridley Scott

Black Hawk Down Review

Casualties, Plato and American warfare all strike at the heart in Black Hawk Down, a Ridley Scott feature that was catapulted to acclaim by the post-9/11 feeling within America. That glean of patriotism within Black Hawk Down is not because of the tragedy that struck, but the acclaim that followed does tie itself to the feeling that swept America. That sense of love for the country is surely felt for those that need it to survive on a day-to-day basis when they see American heroes trapped in parts unknown. Fair play, Scott, it is an interesting angle to take and bolstered by the sudden strike of real-world relevancy and the horrible bloodbaths that open his feature.

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The Last Duel Review

A credible achievement it is to make two features of such lengthiness in one year, Ridley Scott forgets that quantity does not equal quality. Between The Last Duel and House of Gucci is almost six hours of artisanship, but none of it is confident of itself. Where House of Gucci closed itself off from innovation and toured the usual suspects of the biopic genre, The Last Duel relies on an impossibly grand scale and another ensemble. Scott is wasteful and has no way of separating the wheat from the chaff, but he doesn’t need to. There is enough in the grandiose and inspired status of The Last Duel for it to compete on its own level, primarily because there is nothing quite like it anymore.

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House of Gucci Review

Insulting and painful the Gucci family may find House of Gucci, the Ridley Scott-directed feature is bound to take the awards season by storm. It is the necessity of impression. Adam Driver and Lady Gaga front an ensemble assault on the warring factions of the Gucci household with derivative performances, sloppy Italian accents and just enough hold on the prime facts to make for an engaging, horribly stretched rendition of Maurizio Gucci’s rise and death. Driver embodies the murdered Gucci owner, but it is Ridley Scott who fails to adapt the horror show as anything more than a generic drama with lighter tones spread throughout. A balancing act of miserable proportions.

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Memory: The Origins of Alien Review

A great success can be traced back to countless failures. Where Alejandro Jodorowsky’s adaptation of Dune crumbled, it paved the way for a science-fiction boom like no other. Star Wars and the many creative visions within that universe all trace back to that failed 14-hour vessel of Frank Herbert’s work. Alien, too, is one such offspring of that soon-to-be doomed, Mick Jagger-starring feature. It was not to be, but the works it spawned are well worth it. Memory: The Origins of Alien is centred more on Ridley Scott, the great mind behind the 1979 classic before it became the influential thriller it now is. 

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All the Money in the World Review

How money drives us and our decisions is of no surprise. We are all a bit selfish, and deep down probably enjoy the comfort that comes with self-preservation. I know I do, but, then, I am consistently in a state of not having any money. We all are. The privileged few that do have, as the title would suggest, All the Money in the World, are gluttonous. At least, that is what director Ridley Scott would wish to proclaim. Based on the tumultuous story of the Getty family and the kidnapping they work through, there is plenty of time to study greed and grief, but it stumbles far too often.  

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Blade Runner Review

With the impact of Do Androids Dream of Electric Sheep in the field of science-fiction, an adaptation was inevitable. How far it would stray from the theme of empathy for your fellow man was up to director Ridley Scott, who helmed Blade Runner, the Electric Sheep adaptation. Rick Deckard has the titular job, where he retires replicants after a mutiny declared them illegal. It is incredible how much subtext and backstory you can break down into twenty seconds of scrolling text. It is also astonishing to see how much of that can be lost to busy, cluttered scenes that boil the rich worldbuilding of the book down to their basic, core essentials.  

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Alien Review

The unnerving, lethal silence that opens Ridley Scott’s Alien is enough to solidify the classic status of this well-regarded thriller. A definitively tense film, one that captures the shifting tones of Hollywood’s waning golden age with great success. I’d not seen Alien in years, long enough for my brain to erode any memory of the film away, but I remember thoroughly enjoying it way back when. Returning to the series was always something I’d wanted to do, but never found the time to do so. Inevitably, there’s be a return to the Nostromo and a rekindling of my interest in the crew that found themselves coming into contact with lifeforms beyond their understanding, but I was on the fence about how it would hold up as a piece of thrilling media.  

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The Martian Review

Thanks to the ongoing global crisis, I’ve allowed myself much more time to read books and listen to more music. It’s been strange venturing outside of film, but it has given me some time that, in hindsight, was necessary for my writing. Case in point, finally getting around to reading Andy Weir’s best-known work, The Martian. With a big-budget film adaptation lingering around my favourite films list for the past few years, it amazes me how one rewatch could shatter the love I had for this film almost entirely.  

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