Why are so many movies criticized for poor writing? Shouldn't getting the script right be the first priority?

>good
who said anything about good
>cohesive singular narrative
who the FUCK said anything about cohesive

>uncreative, stupid executives
I thought about that. I can see an executive approving simple stories because they'd appeal to a wider audience, and are potentially more profitable. But the issues that are brought up aren't "the plot is too simple", it's more along the lines of "there are plotholes", "the pacing is bad (too slow/fast)", "there are no clear goals", "the characters are Mary Sues", "the characters make retarded decisions"...

Take Armageddon (1998), for example, quote from the Wikipedia page:
>In the commentary track, Ben Affleck says he "asked Michael why it was easier to train oil drillers to become astronauts than it was to train astronauts to become oil drillers, and he told me to shut the fuck up, so that was the end of that talk."

>Production issues and unfortunate problems then sap the life from it until all that’s left of that original script is a threadbare sheet of sadness.
>after a script gets bought a lot of the time it will get drastically rewritten to still keep the concept but make it easier to shoot [...]
Good points about production, didn't think about that.

>Why would they ever bother getting "quality scripts" when that won't get them more money?
Call me a boomer, but I feel like Hollywood today makes cash-grab movies that will age like milk, while that wasn't the case back in the day. Maybe it's like that thing where artists are only appreciated long after their death, and in a couple of decades we'll consider Blade Runner 2049 to be as kino as the original?

>with capeshit they can shit out the same exact product every 6 months
Have we been conditioned to be okay with repetitive mediocrity, or has this always been the case and they're just exploiting it more now? Take Disney/Pixar for example, now they're just making remakes/sequels, instead of making new movies, like they did "back in the day".

Nice trips, but the "you try doing it" argument is still shit. Yes, I have tried writing fiction. Never tried screenplays, and I've read they're harder to write.
The things those movies get criticized for are the very foundations of writing, something even the most novice of writers should take into account: characters have a defined personality and goals, the plot is written around the characters and not the other way around, the plot should be cohesive, non-contradictory and events should have a logical in-universe explanation, each setup should have a payoff, leave no loose threads or plot holes...
Since they are professionals, the fact their script sucks is even more unforgivable.

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>Call me a boomer, but I feel like Hollywood today makes cash-grab movies that will age like milk
This is a well-established and ubiquitously-accepted fact at this point. Hollywood has produced nothing original for years, and quite frankly if the entire system were to disappear tomorrow nothing of value would be lost. The future of film is in independents, this is just fact. Support small cinemas, small production companies, go see something by a no-name director and you've got a better chance of enjoying it than the latest braindead capeshit.

>Have we been conditioned to be okay with repetitive mediocrity
Yes

Here are why scripts are lousy:

"We have to set this in Asia. Asia is popular now. Re-write this for Asia."
"We can't get [Actor X]. Re-write this for a younger actor, like [Actor Y]."
"I am not doing a nude scene! I don't care if they can't see my nipples, that's a nude scene! I'm not doing it!"
"Look, I'm just saying that, in my role, I wouldn't say those lines. Let me just improv that scene. It'll be much better."
"We just got the studio notes back: They want more of [actress X] because she's pretty. Write another scene in for her."
"MPAA just gave us an R and we need a PG-13. Cut out all of the gore for the final action sequence and... Minimize the strip club scene."
"The Chinese advisors just call and they freaked about the Hong Kong reference... I know, I know, there is no Hong Kong reference but they think there's one because the stupid flag LOOKS like it so... I don't know, fix it in post."
"We can't get [actress X] back for re-shoots, she's already making another movie. Just use [actress Z] and we'll reduce [actress X] role."

THAT is how movies become shitty... Shit like that.

>"The Chinese advisors just call and they freaked about the Hong Kong reference... I know, I know, there is no Hong Kong reference but they think there's one because the stupid flag LOOKS like it so... I don't know, fix it in post."
I get the feeling that they'll never make another Winnie The Pooh movie...

Thanks for the examples. I've always read "executive meddling" as the reason movies sucked, but never understood why execs would make such nonsensical decisions, makes perfect sense that they're forced to by the powers that be.

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>"We just got the studio notes back: They want more of [actress X] because she's pretty. Write another scene in for her."
Nice try feminist, modern hollywood doesn't give a shit about prettiness anymore, it's all woke pandering now.

>it's all woke pandering now
When did this shit really begin? It happened too fast to be an genuine social shift, clearly it was pushed from the top, and Hollywood is the perfect tool to manipulate tastes.
I watched Brokeback Mountain (2005) because the premise made me laugh. The movie was pretty laughable too, it can be summarized in, "and they had sex!". I've read it caused a stir because it "raped" a traditional masculine figure, cowboys.

>Support small cinemas, small production companies, go see something by a no-name director and you've got a better chance of enjoying it than the latest braindead capeshit.
I watched a few clips of Who Killed Captain Alex, and it actually was pretty entertaining. Same with some clips of Indian action movies, the cheesiness of the special effects and over-the-top style have a charm of their own.
More Yea Forums than Yea Forums, but Kemono Friends too was made on a shoestring budget, and it was clearly aimed at kids, but it had such a wholesome and comfy charm to it that I quickly watched all the episodes, and almost teared up at the end. Many other anime by mainstream studios get boring after a few episodes, let alone emotionally affect me.

How do I go about finding indie movies that aren't weird experimental art-house pieces?

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Bump before this thread dies

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>I watched a few clips of Who Killed Captain Alex, and it actually was pretty entertaining. Same with some clips of Indian action movies, the cheesiness of the special effects and over-the-top style have a charm of their own.
Shitflicks aren't the same as independent films.

>How do I go about finding indie movies that aren't weird experimental art-house pieces?
Just go to your local independent cinema. If they're remotely doing their job they'll have good indies on regularly.

Most scripts these days are passed through or were originally written but ai and neural networks
They comb popular social media sites and pump out thousands of scripts
They're then sifted through by minimum wage fresh out of high school sjws so then at the end of the day the only scripts being worked on now are what were once millions of scripts that have been put through an SJW teen filter and now you the consumer is seeing the end result

These are how your shows are being produced and written
The bigger ones like the Netflix originals or blockbusters are written by 30 something year old white women whose life has only known privilege with no effort or work or suffering they just go through life on the easiest mode possible cause the vast majority were born into wealth and connections

So that's why

>here is your script bro, just change names and make locations futuristic

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Shut up /pol/, sjw pandering is a problem but far from the only one

Got it, thanks.

Based schizoposter.

>that rip-off of Enuma Elish and the Epic of Gilgamesh

Tell that to the new ghostbusters movie.

Film was more of a director's medium instead of a writers
Plus after the writers strike I don't think a lot of more talented people came back (or at least it went down hill shortly after that)
And to a large degree...films are made for international audiences so the scripts have to be easily translatable even into countries with a largely alien culture (ex: china) compared to western audiences

>When did this shit really begin?
Its an amalgamation of a lot of small things. Social media gave voices to the fringes of society so they formed semi-coherent groups to REEE at everything they don't like, so to get goodguy points corporations caved. Left leaning ideologues also went into overdrive. just look at marvel comics and all the characters and stories they tanked for it. And when people complain they can use the moral grandstanding card. Dying news sites then jumped in write clickbait articles to keep themselves afloat, so an entire subsection of youtube geek commentary community rose up to REE at this all, and now it's just all the same circle of 1. cast someone for their race/sex for wokepoints. 2. write shittier articles about it to generate the clickbait. 3. take the clickbait and REE about it giving it free marketing. 4. thing bombs; blame everyone but themselves. And thanks to the rampant nepotism in the industry this shit will never change.

>Film was more of a director's medium instead of a writers
How did this affect things? (Sorry if this sounds like a retarded question, I'm not a cinephile, but I enjoy watching video essays that analyze movies.)

>And when people complain they can use the moral grandstanding card.
The effort they put in twisting, manipulating and subverting language to their advantage is actually praiseworthy. If you think about it logically you realize it's bullshit, but at face value it hits all the emotional spots. They appeal to the lowest human instincts.

>How do I go about finding indie movies that aren't weird experimental art-house pieces?
search around for comprehensive lists on festival entries and whatnot
I have bookmarked scarufi's website

On page 10, bump in case the user from is still around, or someone else can answer my question about directors.

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>Do they think they can distract the audience from the dismal storytelling by throwing in enough eye candy in post-production?
Yes. This coupled with doing things to meet the audience's expectations will ensure that a movie doesn't bomb.

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>Horus II:The Roman Years
haha

>will ensure that a movie doesn't bomb
Reading this post made me realize something: all they really have to do is convince you to buy the ticket.
Pour everything into the trailer and marketing, make the movie look way more interesting than it actually is. If you fall asleep, walk out mid-screening, or just think that the movie that is a piece of trash, it doesn't matter, they got their money anyway. Eye candy is to the casual watcher what honey is to flies.
Movies are a passive medium, you can just sit back and watch and listen. I haven't watched it yet, but from what I've been told Koyaanisqatsi is just images and music, with no plot. It's proof that visuals alone can make a movie. Or 2001: A Space Odyssey, a good chunk of that movie is ASMR. You can think about the meaning of the movie, but you don't have to, you can enjoy it as "pretty moving pictures on a screen". Same with art, you can still appreciate the aesthetics even if you don't understand the subject, or meaning: see picture related.
On the other hand, there was a chapter in The Picture of Dorian Gray that was just a long description of things, with zero action. Pretty boring, visuals alone without some sort of plot can't make a book.

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