Pitched somewhere between Star Wars, Conan the Barbarian, Stranger in a Strange Land, Gladiator and a live-action episode of the '80s He-Man cartoon series, the sci-fi blockbuster John Carter is an unwieldy, top-heavy production that really shouldn't work at all. And for the first 20 minutes, it doesn't. Not even a little bit.

With the sci-fi blockbuster John Carter, which opens in theaters on Friday, Pixar wizard Andrew Stanton (who has two Best Animated Feature Oscars to his name, for Finding Nemo and Wall-E) makes the leap from directing cartoon characters to live-action heroes. It's a path that has been followed by a handful of filmmakers, some of whom made the transition seamlessly while others... well, didn't. We'll find out soon whether John Carter will be a one-off for Stanton (pictured here with the movie's star, Taylor Kitsch) or if he'll be adding more live-action features to his filmography. In the meantime, here's what happened to some of his predecessors:

Tell us John... is there life on mars?

Almost as notable as the movie trailers we saw during the Super Bowl were the trailers we didn't see. For example, there was no Dark Knight Rises teaser (Warner Bros. clearly knew they didn't need any extra publicity for what's likely to be the summer's biggest hit), no Amazing Spider-Man, nothing for Pixar's latest offering Brave and zilch for Ridley Scott's kinda sorta Alien prequel Prometheus. On the other hand, we got our first good shot of the Avengers all assembled together, a second peek at The Hunger Games (which actually aired during the Super Bowl pre-show, but we'll count it) and what appears to be a Transformers spin-off called Battleship. Here's our take on what Hollywood had to show us, listed in alphabetical order:

The last filmmaker you'd associate with an Elizabethan-era drama exploring the identity of the "real" author behind the work of William Shakespeare would be Roland Emmerich, the director of such spectacle-driven, explosion-filled entertainments as Independence Day, The Day After Tomorrow and 2012. And yet, there's Emmerich's name in the credits for the already-controversial Anonymous, which opens in theaters on Friday. It's a daunting departure for Emmerich, but he's far from the first director that's attempted to upend his image by accepting an assignment that seems well outside of his comfort zone. Here are some of the other biggest directorial change-ups from within the past decade or so.