'Benjamin Button': Curiously long

Parts of the movie dragged and others sped by in a flash. This had to be intentional, to mirror the passage of time -- a theme brought home with lots of clocks. The costumes, lighting, sets and special effects (save the old baby at the beginning) were sensational. The haunting Southern backdrop was perfect, especially when lit with rosy sunrises. Those scenes captured the bittersweet tone of the movie. The happy moments shared between the main characters (Brad Pitt and Cate Blanchett) had a beautiful sadness because you knew they were fleeting. It brought tears to my eyes. The last half-hour was excruciating as the main characters grew further apart in age, but the viewer knew what was coming.

The whole film, with it's drabs, deep browns and rich reds, was easy on the eyes (especially the second hour, where Pitt transformed from a crippled old man into his devastatingly gorgeous self.) I can't for the life of me figure out why Pitt (and not Blanchett) was nominated for an Academy Award. He was good as lonely soul Benjamin, but not brilliant. Blanchett's performance was more moving in my opinion. I felt her pain. I'm so glad Taraji P. Henson got a supporting actress nom. She was great as Button's surrogate mother.

My only real complaint involved the flashforwards to modern-day New Orleans, which came at the most frustrating times. The pre-Katrina hospital seemed out of place and completely disrupted the time flow created by the main story. (Think the last 20 minutes of "Atonement" every half-hour). The modern scenes served a purpose, but they were bulky and strained. I wish Fincher had just gave us a glance of the current times and left the rest of the movie in the past.

Overall, I was glad to share three hours of my life in the mysterious world of Benjamin Button and co. So far, I still want "Slumdog Millionaire" to win best picture, though. Fincher can win best director instead.