Most Wanted
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Ishtar
(May, 1987)
The Seven-Per-Cent Solution (OOP)
(Ross, 1976)
The Devils
(Russell, 1974)
The Pirates of Penzance
(Papp/Leach, 1983)
The Fortune
(Nichols, 1975)
-30-
(Webb, 1959)
Betrayal
(Jones, 1983)
Play It As It Lays
(Perry, 1972)
The Outfit
(Flynn, 1973)
Alex in Wonderland
(Mazursky, 1969)
The Legend of Lylah Clare
(Aldrich, 1968)
In The Cool of the Day
(Stevens, 1963)
That Cold Day in the Park
(Altman, 1969)
Thumb Trippin'
(Masters, 1972)
Midas Run
(Kjellin, 1969)
At Long Last Love
(Bogdanovich, 1973)
Brewster McCloud
(Altman, 1972)
Outcast of the Islands
(Reed, 1951)

Reader Submissions

1930's-1950's
The Moon's Our Home
(Seiter, 1936)
Sh! The Octopus
(McGann, 1937)
The Mating Season
(Leisen, 1951)
Bad for Each Other
(Rapper, 1953)
The Phenix City Story
(Karlson, 1955)
Run of the Arrow
(Fuller, 1956)
House of Secrets
(Green, 1956)
Saint Joan
(Preminger, 1957)
Macabre
(Castle, 1958)
The Fiend Who Walked the West
(G. Douglas, 1958
Five Gates to Hell
(Clavell, 1959)
1960's
Key Witness
(Karlson, 1960)
Summer and Smoke
(Glenville, 1961)
The Chapman Report
(Cukor,1962)
Bachelor Flat
(Tashlin, 1962) [on Hulu]
The L Shaped Room
(Forbes, 1963)
The Chalk Garden
(Neame, 1964)
A Thousand Clowns
(Coe, 1965)
You're a Big Boy Now
(Coppola, 1966)
The Whisperers
(Forbes, 1967)
Dark of the Sun
(Cardiff, 1968)
Skidoo
(Preminger, 1968)
Last Summer
(Perry, 1969)
The Comic
(C. Reiner, 1969)
1970-1974
The Revolutionary
(Williams, 1970)
The Landlord
(Ashby, 1970)
Diary of a Mad Housewife
(Perry, 1970)
Tropic of Cancer
(Strick, 1970)
I Never Sang for My Father
(Cates, 1970)
Sometimes a Great Notion
(Newman, 1971)
Marriage of a Young Stockbroker
(Turman, 1971)
The Music Lovers
(Russell, 1971)
Drive, He Said
(Nicholson, 1971)
The Steagle
(Sylbert, 1971)
The Last Movie
(Hopper, 1971)
Made For Each Other
(Bean, 1971)
The Day the Clown Cried
(Lewis, 1972)
Hickey & Boggs (OOP)
(Culp, 1972)
The Carey Treatment
(Edwards, 1972)
Pete 'n' Tillie
(Ritt, 1972)
Slither
(Zieff, 1973)
Man on a Swing
(Perry, 1974)
Open Season
(Collinson, 1974)
The Tamarind Seed
(Edwards, 1974)
Law and Disorder
(Passer, 1974)
Homebodies
(Yust, 1974)
Stardust
(Apted, 1974)
Celine and Julie Go Boating
(Rivette, 1974)
1975-1979
Rafferty and the Gold Dust Twins
(Richards, 1975
At Long Last Love
(Bogdanovich, 1975)
Hearts of the West
(Zieff, 1975)
Welcome to L.A.
(Rudolph, 1976)
W.C. Fields and Me
(Hiller, 1976)
Citizens Band
(Demme, 1977)
Twilight's Last Gleaming
(Aldrich, 1977)
Looking for Mr. Goodbar
(Brooks, 1977)
Girlfriends
(Weill, 1978)
Movie Movie
(Donen, 1978)
The Medusa Touch
(Gold, 1978)
American Hot Wax
(Mutrux, 1978)
Hot Stuff
(DeLuise, 1979)
Scavenger Hunt
(Schultz , 1979)
Players
(Harvey, 1979)
Rich Kids
(Young, 1979)
Nightwing
(Hiller, 1979)
Screams of a Winter's Night
(Wilson, 1979
When You Comin' Back Red Ryder?
(Katselas, 1979
1980's
Resurrection
(Petrie, 1980)
The Awakening
(Newell, 1980)
Simon
(Brickman, 1980)
God's Angry Man
(Herzog, 1980)
Fast-Walking
(Harris, 1982)
Twice Upon a Time
(Korty & Swenson, 1983)
Trouble in Mind
(Rudolph, 1985)
When the Wind Blows
(Murikami, 1986)
Housekeeping
(Forsyth, 1987)
The Glass Menagerie
(Newman, 1987)
Patty Hearst
(Schrader, 1988)
Drowning by Numbers
(Greenaway, 1988)
Haunted Summer
(Passer, 1988)
The Decline of Western Civilization Part II: The Metal Years
(Spheeris, 1988)
1990's
Old Times
(Curtis, 1991)
Prospero's Books
(Greenaway, 1991)
City of Hope
(Sayles, 1991)
The Baby of Macon
(Greenaway, 1993)
King of the Hill
(Soderbergh, 1993)
Dadetown
(Hexter, 1995)
SubUrbia
(Linklater, 1997)

Grain of Button Salt

I just heard from two friends who came out of this evening's David Fincher tribute at the Telluride Film Festival. They were mainly calling to share impressions of the 20-minute reel shown from Fincher's The Curious Case of Benjamin Button (Paramount, 12.25), which was shown as part of a two-hour presentation that included a q & a with Fincher.


To my displeasure and irritation, their reactions to the Button footage, and frankly the reactions of others they spoke to as they left the theatre (including a couple of journo-critics and a respected director of an '07 political documentary), were not all that good. Wait...what? This is supposed to have Oscar heat, this thing. Fincher's possible home run, payback for the Zodiac diss, whatever.

My friends had one unqualified positive reaction, which was to the performance by Taraji P. Henson (Hustle and Flow) as Brad Pitt's adoptive mother. But beyond that, the Button footage felt vaguely underwhelming, they said.

It just wasn't particularly exciting or engrossing, one explained. Excellent visual effects (old Pitt as a baby, etc.) and fine cinematography but with a kind of enervated, waiting-for-something-to-happen quality. The footage showed portions of the entire film, the other friend said, but in a way that kept you from getting into it with cuts coming too abruptly. And so people were kind of...whatever, grunting and muttering on the way out.

I didn't like hearing this, of course, because I'm a fan of Eric Roth's script as well as an overall Fincher fan so I started arguing with these two. What were people looking for? I asked. What is it that people wanted to happen? It's just a reel, a taste of a feature film.

They only repeated that whatever it was that the Button reel was trying to sell, they didn't get it or get into it, and some others they've spoken to since it ended feel the same way.

One of them actually said that the Button reel had convinced him that Fincher has "peaked" and that "it's all downhill from here on." Oh, give me an effin' break!

The Fincher tribute footage ran about an hour (or just under an hour) altogether, with 20 minutes for Button and 35 or 40 minutes showing pieces of past Fincher films (Zodiac, Fight Club, Se7en, etc.) The q & a between Fincher and Variety's Todd McCarthy ran another hour, they said.

I Chortled<< previous | next >>Quayle with Pigtail

Posted by Jeffrey Wells on August 29, 2008 at 8:46 PM

comment #1

Mgmax Author Profile Page says ...

Admittedly, a TV spot is nothing to judge a movie by, but that's exactly how I felt about this-- okay, I get the gimmick, but what's it ABOUT? What's the point? Sounds like they're no closing to answering that than I was after the spot.

Posted by Mgmax Author Profile Page at August 29, 2008 9:37 PM

Posted by karina Author Profile Page at August 29, 2008 11:20 PM

comment #3

D.Z. Author Profile Page says ...

http://www.animenewsnetwork.com/bbs/phpBB2/viewtopic.php?t=64710

Mgmax: How can you not get what it's about? It's the Incredible Shrinking Forrest Big Fish with a Tin Drum!

Posted by D.Z. Author Profile Page at August 29, 2008 11:31 PM

comment #4

diesel Author Profile Page says ...

they are idiots, I say, idiots! not that I've seen it but as Wells says, this was supposed to be his revenge. I refuse to be disappointed by this.

"The q & a between Fincher and Variety's Todd McCarthy ran another hour, they said."

Well? Well? Can someone find a transcript?

Posted by diesel Author Profile Page at August 30, 2008 1:12 AM

comment #5

BurmaShave Author Profile Page says ...

"It's the Incredible Shrinking Forrest Big Fish with a Tin Drum!"

That is actually pretty hilarious. Maybe it's just the time of night and my state, but I laughed uproariously. Well played.

Posted by BurmaShave Author Profile Page at August 30, 2008 1:43 AM

comment #6

Stephe96 Author Profile Page says ...

DZ,
That IS really funny!

Posted by Stephe96 Author Profile Page at August 30, 2008 8:34 AM

comment #7

broadstreetbully Author Profile Page says ...

"To my displeasure and irritation, their reactions to the Button footage, and frankly the reactions of others they spoke to as they left the theatre ..."

To My Displeasure and Irritation: The Jeffrey Wells Story

Posted by broadstreetbully Author Profile Page at August 30, 2008 9:40 AM

comment #8

buckzollo Author Profile Page says ...

Just left another Fincher tribute and saw the 20 minutes in question. Fincher clearly got wind of this and made special effort to emphasize that what we were about to see was about tone, not complete scenes. Wells you are commiting something akin to tortious interference with this much to do about nothing nothingness. Fincher was open and direct, way down to earth in the session this time opposite Scott Foundas. This whole thing reminds me of when I was kid playing the game telephone.

Posted by buckzollo Author Profile Page at August 30, 2008 10:15 AM

comment #9

Richardson Author Profile Page says ...

"One of them actually said that the Button reel had convinced him that Fincher has "peaked" and that "it's all downhill from here on." Oh, give me an effin' break!"

Fincher peaked with a little movie called 'Seven' but, to be fair, it hasn't all been downhill since then. He's just never reached that level of quality again. That's the only one where he combined the Fincher-arty side with the Fincher-entertainment side successfully. Since then, his movies have been one or the other [I think 'Fight Club' was trying to be both, maybe].

Posted by Richardson Author Profile Page at August 30, 2008 2:24 PM

comment #10

Edward Author Profile Page says ...

The only Fincher film that disappointed me was "Panic Room." "Seven" is one of the most disturbing films I've ever seen and it creeped me out so much, I don't think I could ever see it again. "FIght Club" and "Zodiac" were brilliant and I'm really looking forward to "Button."

Posted by Edward Author Profile Page at August 30, 2008 2:52 PM

comment #11

cjKennedy Author Profile Page says ...

Who judges a movie based on 20 minutes?

Posted by cjKennedy Author Profile Page at August 30, 2008 4:04 PM

comment #12

The Playlist Author Profile Page says ...

@cjKennedy

These days? EVERYONE. It's Twitta-insta cultcha, don't you know?

Posted by The Playlist Author Profile Page at August 30, 2008 4:53 PM

comment #13

Richardson Author Profile Page says ...

CJ - shouldn't the question be, "Who judges a movie based on a 20 minute promotional clip intended to drum up interest in the movie?"

I mean, it's not like this is a stolen reel posted on Youtube; this is something they're showing people as promotion for the movie. Presumably, Fincher was involved in the clip reel, and chose what he felt would intrigue and entrance the audience.

Posted by Richardson Author Profile Page at August 30, 2008 5:53 PM

comment #14

/3rtfu11 Author Profile Page says ...

best supporting actress nomination

Posted by /3rtfu11 Author Profile Page at August 31, 2008 8:36 PM

comment #15

roman Author Profile Page says ...

Fincher will never win an Academy Award. He's all style. Another Ridley Scott.

Posted by roman Author Profile Page at September 2, 2008 4:44 PM

comment #16

YRG Author Profile Page says ...

It's all downhill from here... reminds me of Soderbergh's Oscar acceptance speech for Sex, Lies, and Videotape.

As for the clip reel, it sounds like Fincher and the editors are too close to it. I saw the Cannes "Synecdoche" clips and saw the beauty immediately, but only got it because I read the script. Friends I showed it to didn't get it. I'm assuming the same is true of Benjamin Button... if you know the story and read the script, the 20 minute preview becomes more powerful. Without that knowledge, it's just a collection of random, disconnected scenes. It was probably just poorly edited in a rush to shop around, when they might have done better with just a 10 minute version. Of course, this is all conjecture on my part.

Posted by YRG Author Profile Page at September 3, 2008 10:11 AM

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