I understand the sunk cost fallacy, but I agree that I'm not sure this is the greatest example of it. Or maybe I relate to films in a completely different way

I understand the sunk cost fallacy, but I agree that I'm not sure this is the greatest example of it. Or maybe I relate to films in a completely different way from anyone else. For example, gaping plot holes or impossible character motivations often turn me off. But I love apparent inconsistencies that are fully explained by the end. I basically want filmmakers to convince me they put more thought into their film in the months of making it than I could in the hours of watching it. Or... some of my favorite films are a slow burn that suddenly clicks into an intense ending that surprises you by raising the intensity far above the setup. The Third Man, Hara-kiri, M, Oldboy, The Hidden Blade. By either of these criteria, it can be incredibly difficult to know whether a movie is good or terrible in the beginning. The extreme best and worst could begin very similarly, but they'll end in completely different places. A bit like if Croesus and Solon were just film critics.