Napoleon (2023)

Direction: Ridley Scott
Country: USA 

Ridley Scott's Napoleon attempts to capture both the epic military achievements and personal relationships of one of history's most powerful figures, starring Joaquin Phoenix as the French emperor and Vanessa Kirby as Empress Josephine. Known for his prowess in historical dramas, Scott's latest endeavor falls short in grasping the complexity of Napoleon's rise and fall.

The film delves into the events that shaped Napoleon's trajectory, offering a reductive, almost anecdotal vision of his life. While the rough combat scenes stand out as the film's most attractive aspect - the bloody battles against the Russians are potentiated by gloomy undertones and Martin Phipps’ tenebrous score - the overall narrative comes across as disjointed and superficial. 

Even cinematically rewarding in terms of carefully framed shots (the evocative cinematography is by Dariusz Wolski), what we experience is lifelessness. Phoenix's portrayal of Napoleon oscillates between bravery and vulnerability, mirroring the film's own conflicted nature. The lack of a personal perspective also prevents the film from delving into something bolder. 

To make matters worse, Phoenix and Kirby have no chemistry, and the film's energy fizzles out before reaching its conclusion. Abel Gance successfully tackled Napoleon's story in 1927, but Scott's adaptation is another missed opportunity to explore the complexities of France's most significant military commander and historical ruler.

House of Gucci (2021)

Direction: Ridley Scott
Country: USA

2021 has been a busy year for the acclaimed English director Ridley Scott (Alien; Blade Runner). On the heels of the medieval conspiracies and the fierce battles of The Last Duel, he makes a u-turn into the fashion world with House of Gucci, a biographical portrayal of the Gucci family, starring Adam Driver, Lady Gaga, Al Pacino, Jeremy Irons and Jared Leto. Despite the marvelous cast, a likable male central character and the elegant outfits, there's something wrong in the cinematic design of House of Gucci, whose script, adapted from the 2000 book by Sara Gay Forden by Becky Johnston and Roberto Bentivegna, is partially accountable for the infrequent pleasures and major disappointments found. After a promising start, the narrative flow becomes crippled by pace and inarticulation. 

Gucci is a brand recognized and admired around the world, and Maurizio (Driver), a demure yet distinctively smart member of this Italian family, happens to be humbler than his actor father, Rodolfo (Irons), more discreet than his cunning and domineering uncle Aldo (Pacino) and more empathetic than the latter’s silly son, Paolo (an unrecognizable Leto). The story begins with the romance and consequent marriage between Maurizio and Patrizia Reggiani (Gaga), a woman from a lower class whose inordinate ambition becomes an obstacle in her marriage. 

Rarely as playful or fluid as it hopes, the film declines instead with pacing fluctuations in its middle section - when it mostly relies on Paolo’s idiocy and excessive Italian-accented speech to amuse - and an unemotional conclusion that definitely fails to elevate the account into something satisfying. Scott is heedless in his leadership, seeming unable to point out the best direction to the members of the cast, from which only Driver and Pacino stand out. House of Gucci is unlikely to gain any traction, even among those interested in the story of the family.

The Last Duel (2021)

Direction: Ridley Scott
Country: USA 

Revisiting the topic of honor by judicial duel offered in The Duellists (1977) - his debut feature - and evoking the combat thrills of his widely-known Gladiator (2000), Ridley Scott conceives another epic medieval knight tale with The Last Duel. The film stars Matt Damon, Adam Driver and Jodie Comer in the leading roles. Ben Affleck, who co-wrote the script with Nicole Holofcener (Please Give, 2010; Enough Said, 2013) and Damon, also plays a supporting role. He and Damon haven’t collaborated on a movie script since Good Will Hunting.

Based on true events, the story unfurls in three chapters, each of which reveals the truth according to the protagonists. Set in France, it tells how the valiant knight Jean de Carrouges (Damon) and the squire Jacques Le Gris (Driver), once best friends, became fierce enemies in a dispute that only a duel to the death can settle. 

Slightly better than Driver here, Damon brings enough gravitas to his role, endowing his wife (Comer) with trust and support in the grave accusation of rape she brings to the fore. 

We’ve seen this before, and yet, Scott handles everything with assured know-how, signing a dark picture whose pace becomes slackened in the third version of the happenings. At this point, the film takes us into a state of nearly exhaustion, but then comes the thrilling and ferocious duel, pumping the adrenaline in our bodies.

Adapting Eric Jager’s 2004 book of the same name, this is a decently executed film that entertains without dazzle.

All The Money in the World (2017)

Directed by Ridley Scott
Country: USA

The fact-based drama “All The Money in the World” is both timely and timeless, depicting the greediness of our world, where, unfortunately, the money is idolized and considered of more importance than the human life itself.

The story follows the kidnapping of 16-year-old Paul Getty III (Charlie Plummer), an amiable, longhaired bohemian who is confined to a shack in a remote region of Calabria, South of Italy, awaiting patiently that his billionaire grandfather, J. Paul Getty (Christopher Plummer), pays $17 million dollars in ransom. Despite the pressure and anxiety involved, Paul was lucky enough to earn the fondness of Cinquanta (Romain Duris), one of the Mafiosi.

Surprisingly or not, the dominant and inflexible Mr. Getty is not willing to pay a cent for his beloved and favorite grandson, whose life depends exclusively from the efforts of his desperate mother, Gail Harris (Michelle Williams). She gets a good backup from Getty’s trustful advisor, a former spy named Fletcher Chase (a too modest Mark Wahlberg), who was assigned to bring Paul back home.

Through sporadic flashbacks, we get aware of the distorted relations among the family members. Seventeen years before, in the early 70s, the wealthy patriarch attempted to reconnect with his son, John Paul Getty Jr. (Andrew Buchan), but the latter got lost on drugs in Morocco and remained there, living a vicious life as a hippie.

If Christopher Plummer, who took the place of the discredited Kevin Spacey, is an extra reason for you to see this film, Ms. Williams plays the most empathic character as an ordinary woman who fights bravely for her son, refusing to bow or kneel down in front of her powerful father-in-law. What would you think of a man who pays millions for a piece of art but refuses to pay for his innocent grandson’s freedom? Having his own reasons, he doesn't eschew a justification for his acts. Meanwhile, the case aggravates when the kidnappers, already having lowered their price and stressed for the wait, send an ear of the young Paul to the editorial department of a major newspaper to prove they were not joking. 

Although far from being a reference in the kidnapping thriller genre, the dramatic side gets into your skin. Yet, you might only expect the thrilling moments to take proper effect in its final section. The experienced 80-year-old Ridley Scott (“Blade Runner”, “Thelma & Louise”, “Alien”) directed the film without major gaps, relying on a script by David Scarpa, who based himself in the book Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty by John Pearson.