Yesterday, Anne Thompson posted “an early review” of David Fincher’s The Curious Case Of Benjamin Button, which she says was emailed by “one of [her] industry spies.” David Poland quickly huffed that “running an anonymous ‘friend’ as a ‘review’” is “just bullshit”, but for our purposes, skepticism over where the comments on the film (which are effusive regarding every aspect of the production) come from is neither here nor there.
I’m just wondering what happens now. The film has screened for some long-lead press as well as a couple of guilds, but until now everyone who has seen it (including yours truly) has kept quiet in the interest of playing nice with the de facto embargo. Should we now consider that vow of silence null and void?
I’m guessing probably not; I imagine that if I were to post what I actually think about the film in any significant detail, I would be punished. And I kind of really want to see Revolutionary Road, so I’m gonna hold off on incurring the wrath of Paramount a little bit longer — at least until a review hits the web with its author’s name attached.
All I’ll say for now, is that for me, the image that Thompson used on her blog post (which I’ve appropriated above) says it all. Look at Taraji P. Henson’s eyeline. What is she looking at? Not [the make-up-caked face of] Brad Pitt [superimposed via digital magic on a smaller man's body] — her eyes eyes seem to be directed at the tippy-top of his head, if not higher. Which is weird, because she’s ostensibly watching him miraculously rise from his wheelchair and walk for the first time, so you’d think she’d be looking at his legs, or maybe try to make eye contact, as a way of connecting with him personally during this special moment. Instead, it’s like she’s grinning at something that isn’t there … and now I’ve started to say too much.
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SpoutBlog » Karina Longworth