29
1492: Conquest of Paradise (1992)
Gaumont
In a simply world, a Ridley Scott legendary would not wind up at the bottom of this list– however it’s not a surprise that the ugliest of Scott’s traditionally revisionist works winds up dead last. Launched to mark the 500th anniversary of Christopher Columbus “finding” the Americas, the movie charts his tough relationship with the Spanish court and the subsequent colonial abuses performed by him and his followers. Other than, in Scott’s variation, Columbus (Gérard Depardieu) was generally a witness to the really rotten barbarity of European manifest destiny, instead of an advocate of it. Regardless of the angelic rating by Vangelis and some spectacular frames of “the New World,” the only peek of paradise here is from the happiness of the credits rolling.
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28
Exodus: Gods and Kings (2014)
20th Century Studios
For all intents and functions, Exodus: Gods and Kings is as cumbersome, dull, and racist as 1492–and thanks to the dark, muddy color scheme, it looks far even worse. It thrives over Scott’s other dreadful historic legendary for being such an odd, mangled misfire: a cast of identifiable white faces experiment with various degrees of brownface, and in courting a Western spiritual crowd, the movie was rejected a release in several MENA nations. The most deliberate historic reinterpretations are notable: Scott (together with the 4 credited film writers) reveal the Plagues of Egypt in gruesome, ruthless information, while likewise using lively, practical descriptions for each one.
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27
Home of Gucci (2021)
United Artists
26
Somebody to Watch Over Me (1987)
Columbia Pictures
After working for years on LegendScott’s next movie was far more grounded– a simmering affair thriller about a bodyguard police (Tom Berenger) and the stunning abundant female he’s safeguarding (Mimi Rogers). By the time Legend tumbled tough in 1985, this grounded task appeared like a much surer thing– alas, it likewise underperformed with critics and at package workplace. Scott makes ’80s New York appear like a glimmering, weeping, concrete majesty, framing Berenger’s police under strip lights or in shadowy halls to worry the agitated solitude pulling him towards his product witness. The movie never ever when attempts to make its male lead pleasant, and both the inane love story and the threadbare thriller plot end up lifeless. Among the most absolutely nothing motion pictures of Scott’s profession, however after Blade Runner, it’s significant as another circumstances of damaged, brutish police officers occupying his filmography.
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25
Robin Hood (2010)
Universal
Robin Hood bookended a years of moody,