By trying to retroactively justify the immense cultural fallout and industry impact of his superbly executed, pre-CGI B-movie by recasting it and its sequels as nothing less than events in the history of faith, Scott reveals himself as at best a dupe dragged along by a screenwriter in fanboy thrall to a franchise, and at worst as a doddering hack pissing away—or rather all over—his legacy. Either way, it's not a good look—no, Sir.
Adam Nayman
January 4, 2013