Every Ridely Scott Horror Movie Ranked

Ridley Scott has been opening the frame to sights of unparalleled grandeur for almost four decades.

From the ancient landscapes of Rome, the Middle Ages, and biblical Egypt to the vast expanse of outer space and open sea smog-choked metropolis of Los Angeles and Osaka, Japan.

On the other hand, his horror films are unequaled; they are incredible. Scott earned a reputation for himself with one of the most memorable horror films of all time, 1979’s Alien. The initial script for Alien had the potential to be a comical disaster.

Ridley Scott

Scott has rarely returned to the horror genre in the years since. But here are his horror movie which we have ranked from best to worst.

1. ALEIN (1979)

Alien, a contender for any ranking of the best horror films ever produced, takes considerably from Stanley Kubrick’s quiet grandeur in 2001: A Space Odyssey, notably the ironic sense of solitude that comes with being trapped in the infinite.

Alien is not only the director’s finest horror film, but it is also one of the sci-fi horror sub-most genre’s influential works. There isn’t a wasted minute in Alien, thanks to Sigourney Weaver’s resourceful heroine Ripley, and the unforgettably frightening eponymous enemy,  making it Ridley Scott’s finest horror film by a large margin.

The portrayal of Sigourney Weaver as Ellen Ripley, the warrant officer who holds her own against the danger, is a lasting image of strength and ingenuity. Still, Ripley is also a woman of principle, prepared to make the tough choices that genuine leadership requires. If her colleagues do not reverse her decision not to let an infected crew member back aboard, the Alien will not even board the ship.

Even the superior Alien prequel Alien: Covenant falls short of the original’s degree of constant inventiveness and creativity, with the basic tale of the Nostromo’s crew taking up a deadly stowaway being scarier, cleverer, and more fascinating than Scott’s trio of subsequent horror endeavors.

The picture offers a powerful nightmare of what an actual alien encounter may be like, with Ripley up against a mystery and malevolent monster with no way of stopping it.


Alien: Covenant is an excellent prequel with some memorable, horrible scenes and is the Alien franchise’s most undervalued episode, despite its odd structure. It transforms David, the android portrayed by Michael Fassbender, into a fantastically cold-blooded villain whose objective clashes with the crew and colonists who crash land on the alien-infested planet of Origae-6.

It’s a considerably better solo Alien film than Prometheus, and the numerous story flaws are more straightforward to ignore/explain because of the quicker pace. However, the persistently depressing climax makes Alien: Covenant significantly less enjoyable than some of its series predecessors.

Scott’s decent sequel, although totally fine, can’t compete with his 1979 original. Katherine Waterston plays a skilled Ripley type who leads an increasingly depleted crew through the paces. At the same time, in twin roles as David and the gentler next-gen Walter, Fassbender epitomizes both the promise and the menace of artificial intelligence.

The series Scott ended up beginning with Alien had changed into action-adventure in Aliens and its sequels, and here he returns it to its cold, clinical origins.

3. PROMETHEUS (2012)

The prequel Prometheus, the most polarizing of the director’s attempts in the genre, gets lost in its muddled pseudo-philosophy. Scott’s Alien prequel narrative would have been an excellent miniseries, but as a solo film, Prometheus seems fatally bloated.

Michael Fassbender’s performance as David is terrific. Still, he gets lost in a storyline that tries to explain the origins of the Xenomorph, the Weyland-Yutani Corporation, and mankind itself while still attempting to be a tight, gripping horror. In trying to achieve so much, Prometheus feels much less than the sum of its parts.

Ridley Scott

Working with Lost co-creator and showrunner Damon Lindelof, who rewrote Jon Spaihts’ original script, Scott fleshes out Prometheus with complex mythology involving astronauts on a voyage to see their creators, known as “the Engineers.”

4. HANNIBAL (2001)

The movie adaption exemplifies the original picture handled serial-killer grotesquerie with terrifying deftness. Its primary emphasis was Foster’s Clarice Starling, a young FBI agent attempting to establish herself in a dangerous, male-dominated environment.

Anthony Hopkins reprises his role as serial killer cannibal/charismatic genius Hannibal Lecter in Hannibal. Gary Oldman’s villain Mason Verger is unpleasantly memorable, and some of the set-pieces are gruesomely memorable. However, this Grand Guignol sequel ramps up the gore and drama of Silence of the Lambs a little too much for it to be really terrifying.


Nonetheless, Hannibal is a fitting sequel to the original, even if it does play up the cheesy slasher movie aspects of the source material. Hannibal recasts Foster with Julianne Moore and then mostly ignores her in favor of an incredibly revolting mano between Hannibal Lecter and a prior victim (Gary Oldman) hellbent on vengeance.

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