Out of ten Rossio films for which reviews are compiled on RottenTomatoes.com, seven out of ten score "rotten." And box office is not a measure of quality, as Michael Bay's career illustrates.
Critical acclaim doesn't put steaks in the Sub-Zero freezer at the pacific coast weekend house.
I'll take the cash.
Box office receipts are a fair, quantifiable measure of entertaining the public with what they are interested in.
By that measure Rossio's stories have provided a great deal of public entertainment and can justly be listed near the top of any comprehensive list as a contributing member to great public entertainment.
I'll begin with a key example: "Pirates of the Caribbean: At World's End."
The only reason that this film wasn't automatically the biggest turd of 2007, was that "Transformers" was released that same year. This bombastic mess was filled with abortive plot threads, pointless additional characters, leaden dialogue without a shred of wit, nonsensical storytelling, and bloated, kitchen-sink excess on every level. And it was unforgivably boring. A hateful movie-going experience on every level, which was enhanced by Gore Verbinski's ham-fisted direction and a pompous Hans Zimmer score that repeatedly stabbed you in the eardrums. This film is a prime example of how more equals less.
Ironic that Rossio authored a screenwriting site for years that contained lots of useful, smart advice -- and then found a way to ignore everything he preached.
Discuss.
Let's apply a critical eye to this provocative assessment.
The only reason that this film wasn't automatically the biggest turd of 2007, was that "Transformers" was released that same year.
Arguing that a
$300M movie that worldwide took in $963M, (not including merchandising rights) ranked #1 in 4,362 theaters opening weekend was
second turd to
a $150M movie that worldwide took in $709M, (also not including merchandising) that also ranked #1 in 4,011 theaters over a month later is hardly excoriating.
I'll go out on a limb here and propose that not everybody likes everything, however those that do not "appreciate" some things can acknowledge that others do "appreciate" those things. Either party may be in the majority or minority.
Regarding PoC:WE, the public majority view it with appreciation while the public minority does not.
This bombastic mess was filled with: Subjective value ascription.
- abortive plot threads, I'd have to watch it again to confirm or deny. I have no intention and will take your word on it in this case. You appear above average in intelligence.
- pointless additional characters, Likely, these are
supposed to add depth and flavor, like Madona's back-up singers.
- leaden dialogue without a shred of wit, Often changed by directors and actors.
- nonsensical storytelling, and I'd have to read the "locked" studio approved screenplay and compare that to the final revisions and then again with the featured product everybody from studio to MPAA tinkered with.
- bloated, kitchen-sink excess This over-the-topness seems to be entertainingly popular with audiences not interested or (likely) incapable of discerning sublime subtlety in their art.
- on every level. Including on the aforementioned "abortive plot threads"? That's quite an achievement!
And it was unforgivably boring. Subjective value ascription.
A hateful movie-going experience on every level, Subjective value ascription. Yet people kept watching it and recommending it and buying the DVDs. Sadists!
which was enhanced by Gore Verbinski's ham-fisted direction Subjective value ascription.
and a pompous Hans Zimmer score that repeatedly stabbed you in the eardrums. Subjective value ascription. Also, I noted Brian Luce was cited over:
argumentum ad misericordiam: "And I don't think you'd appreciate it and not take it personally if someone crapped all over your Aborted Fetus movie -- as you've done to a lot of Terry's films"
So,
you can't very well tell
me what happened to
my ears.
FWIW, frankly I don't recall the music specific to World's End, indicating it's nil impact on me personaly.
(Thanks for the very Harry Potter-esque argumentum citations! I'll certainly investigate those and learn how to cast them properly in the future!)
This film is a prime example of how more equals less. Again, the cash proffering mob indicates otherwise.
Seriously, I think you're arguing the subjective value of ethereal rare air vs. that which emanates from whoopie cushions.
Ironic that Rossio authored a screenwriting site for years that contained lots of useful, smart advice -- and then found a way to ignore everything he preached.
I'd have to look at his original draft, co-written with his credited partner Ted Elliot, and then all the documentation of
who dictated
what story changes from that original version to the locked, studio approved version and then onto all the subsequent version changes.
It would also be helpful to know what the MPAA and distributor had to say.
Ten words or less: I think you're dumbfounded by the number of people less intelligent than you are that sincerely liked At World's End.
Idiots are aplenty.
There's no shortage.
Simpson's has been on TV for how long?
Married with Children was on for how long?
Burgers kill more Americans than bullets, yet what do we worry about?
If Federal taxes are lowered State taxes will increase to compensate, but does the average retail or food service worker have any comprehension of these things?
If the national debt level is raised the value of the USDollar decreases making the relative value of other global currencies greater allowing them to purchase more commodities of production like iron ore, met coal and copper, which makes our stock market increase yet do you think John Q. Public has any understanding of this ten minutes after it's explained to them?
French Revolution.
American Revolution.
Fear the masses.
Fear the wind driven fire.
This is the spiritual appeal of zombie movies.