One reader on our sight keeps accusing us of being partisan towards David Fincher’s “The Curious Case Of Benjamin Button.” It’s vaguely infuriating because a) we’re mostly big Fincher fans, b) have posted about it ad nauseum and c) because more and more it is looking like ‘Benjamin Button’ is polarizing critics and possibly audiences.
Our tipster review suggested their might be an age schism; the under-30 crowd not feeling its “Forrest Gump”-ian tones, the older crowd – some of who may have helped give ‘Gump’ Oscar gold back in the day – embracing it full-heartedly.
Someone we won’t mention said we were “irresponsible” for conveying that sentiment from our tipster’s review (it was their mouth, not ours, but they’re legit).
First Anne Thompson suggested the same thing. “It may pack a more powerful punch the older you are and the more people you have lost. In that case it will score with the Academy, who will also recognize the skillful filmmaking on display.”
But then a reader who read Jeff Wells’ mini-review, says, “I disagree with the suspicion that under 30’s may not be cool with it,” which is odd because Wells doesn’t even bring that up in his review (and if so, very vaguely). The anonymous 30-year-old writes, ” I found it touching and emotional in the best possible way (i.e., not sentimental).” Hey, that’s what we’re hoping for too. But what that means is different things to different people. Wells of course thinks it needs more “schmaltz” which even he is pained to say, writing that David Fincher’s cool touch might not have made him the best person for the job. Well, maybe his sardonic hand prevented it from being a treacly feel-goodery?
BTW, even the L.A. Times is seeing at least the critical schizm in a piece titled, “Ben Button: Triumph or Folly?” Plus we have to note: we said InContention were in the tank for this one, but we must note they also called the movie “strangely cold.”
Born in Chile, raised in Canada, now living in Brooklyn, NY, Rodrigo Perez is the founder and editor-in-chief of The Playlist, which he launched in 2007. He has worked in entertainment journalism since 2000, including at MTV, and has written for SPIN, IndieWire, Pitchfork, Complex, Magnet, MuchMusic, and various music, film, and entertainment publications over the past two decades.
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