I’d just managed to bury the terrible blood behind my viewing of the Changeling, when along comes Benjamin Button to stir the pot again. Admittedly, I’d read enough glowing reviews of both films to have higher-than-normal expectations. Still, I’d never expected that everyone involved with both productions (I will leave Taraji P Henson alone–she was in her own movie, anyway–) could be guilty of phoning it in.
And then somehow getting their studios to press hard for an Oscar nomination.
My main problems are as follows: Why can’t these directors convey a “heavy” message without their stories crawling at a pace more languid than Cate Blanchett’s excruciating drawl?
I understand that there are tax breaks for filming in the Big Easy, and it’s somehow become patriotic to film down there. But not everything below the Mason Dixon Line moves like a cripple stuck in molasses . It is possible to tell a story set in the south without falling victim to plot torpor. (See: Hustle and Flow.)
Here’s the takeaway from Benjamin Button–the version that will save you almost 3 hours of precious existence: Life happens. Now you can skip the effects, which are supposed to be so riveting, and spend your money on Australia instead. Believe me, you’re better off for not having wasted 25 minutes at a Russian hotel for no reason.
Changeling: if I never see another skeleton on roller skates shed crocodile tears it’ll be too soon. Here’s the flick in a nutshell: Never, ever fuck with tha LAPD. Especially if you’re a woman.
Now, come on heavy-hitters: make me feel something, think something, AND plaster me to my seat. I don’t need an hour and a half of set-up to get me into the story. Really, I don’t. I’d much prefer to get in, get out, and leave with mascara streaming down my cheeks.
If there’s enough time for my makeup to dry again before the credits roll, you haven’t done your job.
