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Inside Ridley Scott, there are two directorial wolves: The stylistically distinct auteur with towering influence over contemporary cinema, and the semi-anonymous studio journeyman who’s put out a movie a year well into his 80s and possibly his 90s. These days the pendulum of film-snob appreciation may have swung toward a third Scott, Tony—in terms of pure style, he’s my preferred Scott, even if his era-defining megahit, Top Gun, probably deserves to be downed by a xenomorph. But…
