Coleman, John. Review of Legend, by Ridley Scott. New Statesman 110, no. 2855 (13 December 1985): 30-1.
Coleman dismisses Legend as a “limp” Hollywood fable, noting that the film presents “[n]o coherent world of any kind.”
Corliss, Richard. Review of Legend, by Ridley Scott. Time 127 (12 May 1986): 98.
Corliss criticizes Scott as a “master of artifice,” arguing that Legend “is as simple as a bedtime tale.”
Frost, Linda. “The Decentered Subject of Feminism: Postfeminism and Thelma and Louise.” In Rhetoric in an Antifoundational World: Language, Culture, and Pedagogy, edited by Michael Bernard-Donals and Richard R. Glejzer, pp. 147-69. New Haven, Conn.: Yale University Press, 1998.
Frost presents a discussion of Thelma and Louise as a postfeminist film.
Guthmann, Edward. “Matchstick Men Strikes a Nerve; Cage a Mass of Tics as Anxious Con Artist.” San Francisco Chronicle (12 September 2003): J5.
Guthmann calls Matchstick Men a “clever look at con artists” but comments that the film has difficulty balancing its comedic and dramatic elements.
Hofmeister, Timothy P. “Achillean Love and Honor in Ridley Scott's Black Rain.” CML 13, no. 1 (fall 1992): 45-51.
Hofmeister compares the heroic duo in Black Rain to the classical Greek epic The Iliad.
Klawans, Stuart. Review of Thelma and Louise, by Ridley Scott. Nation 252, no. 24 (24 June 1991): 862-63.
Klawans questions the extent to which Thelma and Louise is effective as a feminist film.
McCarthy, Todd. “Gladiator Prevails.” Variety 378, no. 10 (24-30 April 2000): 27, 32.
McCarthy offers a positive assessment of Gladiator, calling the film “exciting entertainment.”
McKissack, Jr., Fred. “Celluloid Somalia.” Progressive 66, no. 3 (March 2002): 38-9.
McKissack asserts that Black Hawk Down is a first-class war film but criticizes the storyline for promoting military revenge.
Rafferty, Terrence. Review of Someone to Watch over Me, by Ridley Scott. Nation 245, no. 13 (24 October 1987): 461-62.
Rafferty applauds Scott's visual sophistication and romanticism in Someone to Watch over Me, calling Scott “a tremendously skilled commercial filmmaker.”
Robertson, Robbie. “The Narrative Sources of Ridley Scott's Alien.” In Cinema and Fiction: New Modes of Adapting, 1950-1990, edited by John Orr and Colin Nicholson, pp. 171-79. Edinbourgh: Edinbourgh University Press, 1992.
Robertson discusses the variety of narrative sources that inform Alien, citing examples in comic books, fiction, and traditional myths and legends.
Torry, Robert. “Awakening the Other: Feminism and the Ego-Ideal in Alien.” Women's Studies 23, no. 4 (September 1994): 342.
Torry examines the character Ripley in Alien as a reaction to feminism.
Additional coverage of Scott's life and career is contained in the following sources published by the Gale Group: Authors and Artists for Young Adults, Vols. 13, 43.