Not a review, per se, so it’s evidently ok under the embargo, but IndieWire’s Eugene Hernandez give some thoughts on “The Curious Case Of Benjamin Button,” a film causing quite the stir with some not prepared to hear that it’s anything less than utter genius.
“While I feel that “Benjamin Button” is, on first viewing, hardly a lock for best picture, the attention that will justifiably be paid to its considerable technological achievements could sweep it into the higher profile categories. (”Forrest Gump” was popular with the Academy and there are some parallel’s here). But, as I was telling a friend today, for a much more striking and beautiful marriage of technology and ideas, I’d encourage folks to watch “WALL-E” again.”
IndieWire collegue Peter Knegt says:
“It is almost certain to get tons of artistic and technical nods, and maybe that will help it in overall. But remember when “Dreamgirls” got the most overall nods but no best picture? I don’t know, that’s where my guess is going at this very moment.”
Update: We’ve been sent the new digital posters of ‘Button’ in a Brad Pitt and Cate Blanchett version so we’re bumping up this post (you’ve already seen the original, but we’ll post again). Also, no one can write official reviews yet,right? Though yes, tons of “thoughts” have been posted already (see above).
On Friday, very late in the day West Coast time (even later here), Variety posted what feels like a carefully-worded preview piece by someone who’s seen the film, but is trying hard not to “review” it (seriously, is here a huge difference unless the author is holding something back major like he dislikes it? It’s very positive.
The Curious Case of Benjamin Button” is imagery wizard David Fincher’s big-canvas play for mass acceptance, and he’s fashioned an effects-laden but character-driven epic that recalls the sweetly doomed, emotional glamour of Hollywood’s golden era.
And the writer goes on at length about the achievements in special effects.
A Fincher movie is usually a cause for technical celebration, and “Button” covers all the bases, from the sepia-to-spectrum richness of the visuals (Claudio Miranda) to the century tour of clothing styles (prior nominee Jacqueline West), and from the stunning New Orleans-based production design to the performance-capture-meets-makeup aging effects that put Pitt’s wrinkled face on a shuffling, diminutive body.
Hmmm, the plot thickens.
