designed to be long, epic and in 3-D, but that's as far as the design goes. It's designed to be a product, and it's a flimsy one". A.O. Scott of The New York Times said, "John Carter tries to evoke, to reanimate, a fondly recalled universe of B-movies, pulp novels and boys' adventure magazines. But it pursues this modest goal according to blockbuster logic, which buries the easy, scrappy pleasures of the old stuff in expensive excess. A bad movie should not look this good". In the UK, the film was panned by Peter Bradshaw in The Guardian, gaining only 1 star out of 5 and described as a "giant, suffocating doughy feast of boredom". The film garnered 2 out of 5 stars in The Daily Telegraph, described as "a technical marvel, but is also armrest-clawingly hammy and painfully dated". BBC film critic Mark Kermode expressed his displeasure with the film commenting, "The story telling is incomprehensible, the characterisation is ludicrous, the story is two and a quarter hours long and it's a boring, boring, boring two and a quarter hours long". Accolades Aftermath Corporate The film's failure led to the resignation of Rich Ross, the head of Walt Disney Studios, even though Ross had arrived there from his earlier success at the Disney Channel with John Carter already in development. Ross theoretically could have stopped production on John Carter as he did with a planned remake of 20,000 Leagues Under the Sea, or minimized the budget as he did to The Lone Ranger starring Johnny Depp. Instead, Stanton was given the production budget requested for John Carter, backed with an estimated $100 million marketing campaign that is typical for a tentpole movie but without significant merchandising or other ancillary tie-ins. It was reported that Ross later sought to blame Pixar for John Carter, which prompted key Pixar executives to turn against Ross, who already had alienated many within the studio. In September 2014, studio president Alan Bergman was asked at a conference if Disney had been able to partially recoup its losses on The Lone Ranger and John Carter through subsequent release windows or other monetization methods, and he responded: "I'm going to answer that question honestly and tell you no, it didn't get that much better. We did lose that much money on those movies." Double Negative, the British visual effects house now known as DNEG, also saw