What a long strange trip it’s been. For Fincher fans who began buzzing about The Curious Case of Benjamin Button more than a year ago, anticipating what it could be, hyping what it might be, and — for some of us — admiring what it turned out to be, the announcement yesterday of the May 5th DVD release is the icing on Mr Gateau. Paramount is pairing with Criterion to give us a deluxe 2-disc set.
“The Curious Case Of Benjamin Button two-disc DVD and two-disc Blu-ray boast over three hours of enthralling special features including interviews with stars Brad Pitt and Cate Blanchett with behind-the-scenes footage of their astonishing on-screen transformations, an in-depth documentary revealing the unusual journey of the film itself including the secrets of its award-winning visual effects and an exploration of the groundbreaking computer wizardry that brought the magical world of Benjamin Button to life.”
Let the reassessment begin. This swanky Criterion treatment will probably do more to enhance the film’s reputation over the years than 3 or 4 more Oscars would have done. More DVD details after the cut.
- The Curious Birth of Benjamin Button—four-part documentary:
- Academy Award-nominated director David Fincher introduces the surprising beginnings of what would become an epic masterpiece including the casting of Brad Pitt and Cate Blanchett, the decision to change the location of the story to New Orleans and more.
- Follow the production from day one including the challenges of aging Brad Pitt and Cate Blanchett, designing over five thousand costumes and creating the animatronic baby.
- Explore the incredible visual effects techniques created specifically for the film that allowed Brad Pitt to play the title character at virtually every age. Also includes a visit to the scoring stage with composer Alexandre Desplat.
- Walk the red carpet at the film’s premiere in New Orleans, with final thoughts from cast and crew.
- Audio Commentary by director David Fincher
63 Responses for "The Criterion Showcase for Benjamin Button"
Wait. WTF?
Really?
There’s an unusual amount of skepticism about this release, Chris. Commenters at /Film are calling it a hoax. But it’s been been reported by Reuters this morning and the same info is showing up at a number of DVD sites.
Single-disc movie-only edition from Paramount priced at $16.99. The 2-disc edition priced at a very Criterion 34 bucks — but available for $23 through Amazon pre-order. Blu-ray is $29 like a lot of Criterions.
What the hell is there to be skeptical about? It’s a great film by one of THE amazing directors working in Hollywood today. It won critical acclaim, including a leading number of Oscar nominations (and a few technical category wins). Other films that debuted as Criterion releases include Wes Anderson’s “The Royal Tenenbaums” and “The Life Aquatic”, Kevin Smith’s “Chasing Amy”, and — wait for it — Michael Bay’s “Armageddon”. This film can certainly hold its own in comparison with those. In my opinion, it stands miles above them.
I will own this on day one (on Blu-ray Disc, of course).
“Academy Award-nominated director David Fincher”
Just wearing the shoes in.
If they think I’m gonna pay for a $30 lecture on life and all it’s quirky little aspects, they got another thing coming.
is the graphic for this post big enough?
I’ve always wondered what kind of criteria a film needs to meet to be released as a Criterion Collection film. Usually aren’t Criterion films those that are rare or films that have impacted the art form in some way? I’m just wondering because I always thought films aren’t usually released as Criterion until later on, after they’ve become influential or after there’s been more of a consensus about it. I’ve watched many Criterion films, and I’ve noticed that a majority of them are not contemporary, so I was just wondering is it this common for films to be chosen as part of the Criterion Collection this soon?
Will that be the official DVD art? Because… meh.
The only criteria is “important classic and contemporary films.” After all, they’ve done The Royal Tenenbaums in the past. But I really don’t see why Benjamin Button is so deserving, and I’d rather see something truly daring like Synecdoche New York get a Criterion release; it could do with more exposure. Button is three hours of “oh, sweet nuthin’!” as far as I can tell. And that’s coming from a huge Fincher fan. Well, I see Criterion is also releasing one of the most overrated movies of all-time: My Dinner with Andre. Ugh.
Oh well. At least I have Last Year at Marienbad to look for. And The Cook the Thief His Wife & Her Lover…if they ever get around to it.
What a crap.
How on earth did this make the Criterion collection? It’s not even his best movie. It’s The Curious Case of Benjamin Boring.
They probably just want it to be part of their collection so they can make more money.
Anyone know how Criterion are doing financially?
At first I was annoyed that this made the Criterion collection. In my opinion, it’s a entirely average movie, that I hated more and more every time I saw it. But then I remembered that Michael Bay’s Armageddon also got the Criterion collection, and I felt a bit better.
Sweet. A film of this caliber deserves the all-out fancy treatment. Can’t wait.
“Let the reassessment begin.” I dunno – for those who didn’t like it, I reckon this won’t change their minds. Criterion telling me it’s a good film doesn’t convince me it was a good film.
I’m not a big Criterion follower by any means but I know well enough that an awful lot of people, me included were baffled and surprised (both in a good and bad way) that this movie is getting the Criterion Dip.
I’m guessing it’s a simple fact that Criterion needs to make $ and nabbing Benjamin Button is a good means of doing so. It would explain why the 2 Micheal Bay movies, The Rock and to a more baffling extent, Armageddon, are in the Collection.
I just hope this means Criterion are up for adding more Fincher movies to the collection. I’m hoping to see Fight Club or The Game added one day.
I consider this a great surprise, as a Criterion devotee who refreshes the main page for new title around the middle of every month. Remember that a film like BB, long beat upon as a film “designed for Oscars” throughout this season in deference to Slumdog, is a real underdog in this realm: critically mixed word of mouth and the perception of being both a blockbuster in general and in particular, a blockbuster that followed what some consider its director’s “real” masterpiece, are both serious detriments to a film’s canonization in film studies.
A lot of Criterion fans are upset about this, but I don’t see why: C have always volleyed between established classics and still noteworthy lesser works of important directors. This arguably falls into the second category, and good on them for that. Whatever your feelings about the film, surely you must admit that it’s at least as much of an achievement as, say, The Life Aquatic, another instance of a semi-reviled film getting in because of real love for its director. I like both films a lot, and I’ll happily add this one to my collection.
Being a Criterion release, its bad news for me as a blu-ray aficionado.
Meaning, it will be region locked and feature only english subtitles
Had it been Paramount, it would most likely be region free and have more subs. options
One of my favorites from last year, and def. a million times better than the actual oscar winner, Crapdog Millionaire, a movie with a screenplay written by a 12 year old and def. the most overrated movie this century, so far.
T.
I wasn’t a huge Button fan when it came out but of all the big Oscar movies, this is actually one that continues to linger in my memory (along w/ Rev Road and The Reader), especially the second half, after Cate Blanchett arrives….
Looking forward to seeing it again in what should be a classy DVD release.
Tufas, at least Slumdog wasn’t written by a sentimental, self-righteous bore who thinks he has something to say.
criterion gave an edition to michael bay’s ‘armageddon’
This must be part of the “ironic” section of the Criterion Collection where we find such titles as Armageddon, The Rock, The Blob, etc.
Synecdoche, New York is far more worthy of a Criterion release and fits into their standards of artistry and quirkiness than Forest Gump 2.
Maybe Paramount owned the rights to some really cool art house film Criterion wanted to release, and an agreement was made between them for Criterion to release The Curious Case of Benjamin Button in exchange to the rights to some other worthier film. At least that is what I would like to think.
“Tufas, at least Slumdog wasn’t written by a sentimental, self-righteous bore who thinks he has something to say.”
Too easy.
What no extended version? That’s crap. Cause I really wanted it longer…zzzzzz
Ryan, or Sasha or anyone for that matter, do you know the U.S. DVD release date for Gomorrah because I’ve seen that it was released in the UK and such. It would be greatly appreciated if you could tell me.
chrisw, No exact date on the US Gomorrah release yet, but I’m seeing the ETA listed as sometime in July.
At Noah R. – Actually, Slumdog was.
Man I still can’t believe that overrated crap.
J.
Well if Armageddon got the same treatment, I have nothing left to say really.
Regardless of whether you enjoyed the film or not, this film has set the standards for make-up and computer enhancing actors.
Actors looking 60 can and will continue to do films if they utilize the same special effects that Fincher used. This technology will definitely prolong an actors career.
This film will become the staple of the industry, in the not so distant future.
Good job Criterion adding Benjamin Button to list. And thank you for doing this now instead of having to purchase the initial single DVD copy; and then months later purchasing the Criterion
If I had to choose any Fincher film for Criterion, it would be Fight Club or Zodiac.
Zodiac already has an excellent release out there.
I want Fight Club and Se7en on Blu!
T.
Wow. “Benjamin Button” is confounding to some, but for me it’s “Zodiac” that I don’t get. Never saw what was so special about that one.
Tufas, you’re just wrong. It’s a whimsical film about destiny and it knows it. Benjamin Button, on the other hand, thinks it’s telling you something about living life backwards and yet tells you nothing at all. If you can’t see that then I don’t know what to tell you…
“This must be part of the “ironic” section of the Criterion Collection where we find such titles as Armageddon, The Rock, The Blob, etc.”
I like this take on the Criterion release. Perhaps the folks at Criterion thought they might actually make some profit on BB.
For me, it boils down to one thing: Is David Fincher worthy of a Criterion release? The answer for me is yes. I don’t have a problem that the title they chose, I don’t find to be particularly great as a movie.
There are plenty of Criterion releases that aren’t that great or kind of overrated. I think Michael Bay’s presence in the catalogue has already been addressed. This is not the end of the world. It does not make the movie any better or worse. And I’m sure the packaging will be as beautiful as it always is. Plus, perhaps it opens the door for future, more deserving Fincher titles to be released on the label.
***Benjamin Button, on the other hand, thinks it’s telling you something about living life backwards and yet tells you nothing at all.***
How stubborn can you get? It’s not about living life backwards, it’s about living life here there or anywhere else. It’s about aging, about our material and spiritual existence within a material world, about finding solace beyond physical hindrances, about the perils of time on a physical and psychological scale, about the simultaneous necessity and dread of time as an inevitability in our daily lives…
“It’s not about anything” is bullshit. It’s a spiritual film, a reflective experience, open to interpretation and discussion, and it’s up to you to take out of it what you take out of your own life. It’s absolutely jam-packed with ideas, but if you don’t allow yourself to see that then, well, you don’t allow yourself to see that.
A film is getting a good DVD release.
Since when has this been a reason for the level of whining I’ve seen on this topic?
Is it just me or has Benjamin Button seemed to encourage a lot of pathetic infuriated posting about a film that some people liked, some people didnt.
cheers, The Natural.
Very well said.
I second Ryan’s motion to applaud you, The Natural. Nicely put. I agree with you completely.
That’s a fine release for what is a fine movie. I hope Slumdog’s DVD comes covered with crap. That way, for once there’d be truth in advertising in regards to this movie.
The Natural, I wouldn’t waste your breath on these peasants. Some people have trouble understanding that existence is one of the most provacative of all subjects and that one of it’s most illusive and darkest themes is that of inevitability.
Inevitibility… It’s all right there on the screen and yet people don’t realize just what a complicated and deterministic journey every character in in the movie is going through. Or maybe they just don’t want to admit it themselves. Or maybe they don’t understand what it’s like to live through life without quite connecting with the surrounding events.
Much like the protagonist of Slaughterhouse 5, Benjamin is not quite in synch with his own timeline. Yes, this makes the character somewhat hard to relate to. But it also make him all the more interesting and strangely beliavable.
I’d hate to take another cheap shot at SM but I bet that most of the same people who are calling CCoBB pointless find SM profound.
So you really need three hours to tell me that? Sorry, I don’t buy it. I’ll stick with Fincher’s truly great films like Se7en and Zodiac. And I’m glad Criterion is going to make a good profit off this film because they deserve it so whatever.
And Proman, I have never once called Slumdog profound, but once again, Slumdog knows what it is and delivers. Nothing was really profound last year. Well, except Synecdoche…
“One of my favorites from last year, and def. a million times better than the actual oscar winner, Crapdog Millionaire, a movie with a screenplay written by a 12 year old and def.”
+++++++
Tufas, your witless and sub-juvenile commentary and name-calling about Slumdog Millionaire is like that of a foot-stomping, immature and sulking twelve year old cry baby.
In all your snarky commentary on it in the threads of this blog you have not laid a single valid criticism on it beyond petulant name calling and ad hominem, hysterical generalisations.
Which is the tone adopted by all of Slumdog’s haters be it Tufas or Proman or anyone else. It’s such a bourgeois attitude, like Benjamin Button is real art and anyone who thinks Slumdog is better is a philistine or in Proman’s words, a “peasant.” Anyone is entitled to any opinion they like, and hey, you wanna put Button on a pedestal? Go right ahead. But is the name-calling really necessary? We’re supposed to be adults here.
While I disagree with the notion that the movie is about nothing, I think the muddled use of symbolism and setting perhaps made it difficult to ascertain what exactly the movie was getting at. One of my frustrations with the movie as a whole was its insistence on setting the story in certain times and places without any sort of context for what that meant to the characters. The most egregious offense was its complete lack of realism in depicting race relations in New Orleans in that era. As for the symbolism, the end of the movie wasn’t that of a director confident in his message, but one of a director who doesn’t perhaps understand the nuance of symbolism and tries clumsily to remind us of all the subtext he’s sprinkled throughout the film. I had similar problems with how Fincher ended Fight Club.
I come away from Fincher’s filmography thinking perhaps the guy’s not a great reader or perhaps he just doesn’t necessarily know how to translate literary devices to the big screen. I think he works much better within film conventions and genre than he does outside of them. I tend to view Se7en, The Game and Zodiac as his finest pictures and all definitely have their feet set firmly in their movie-ness.
I think the film would’ve been better with a different script writer. There wasn’t too much wrong with Fincher’s direction, it was the writing that was mediocre.
At #43
Slumdog Millionaire is a festival of clichés
I never said it was terrible, but I do mean it when I say it is hugely overrated.
Call me whatever you want. I am a movie lover, an oscar lover, I adore the awards season and I am entitled to come here and comment, and to do whatever I want with Crapdog’s movie title, since I am not offending anyone – except maybe people like you.
You may think you are witty, and your personal attack on me may be hidden behind refined english prose, but I am not the one going personal and insulting other users here, you are.
Slumdog is overrated. MY personal idea. And if you can’t take it someone calling it “Crap” on a blog, maybe you shouldn’t be here at all.
T.
Thank you, Ryan.
Yes Tufas, I am a movie lover too, we are all movie lovers, but we
don’t all squeal with narcisssism that we are more holy and pure movie lovers than all others and have been morally raped by a movie we dislike, in the hysterical way you do.
You see, even your refined ‘festival of cliches’ is a cliche itself. There is no actual engagement — all there is, is hysteria and, frankly, childish name calling, certainly out of proportion to the alleged modicum of respect you hold it in.
You don’t have anything but juvenile 12 year old ad hominem abuse and caricature to offer as criticism of Slumdog Millionaire, and it renders your criticism as risible and pathetic. There’s nothing there but diaper speak.
I’m not offended by the originality, sophistication and Oscar Wilde level of wit in christening it ‘Crapdog Millionaire’, I’m amused and laughing at the hilarity of the paucity of intellect that projects juvenilia as a criticism of the movie, complaining about a screenplay written by a 12 year old, while hooting and sending out bon mots like a sulking 12 year old yourself.
There’s nothing there but sorry (but comical) petulance, and a soiling of the diaper, a stomping of the feet, and a wail from cot, and an absence of thought.
Yes! I can’t wait for this!
I thought by now the haters of this film would have moved on, but what was I thinking? I understand during Oscar season people want to promote the films they like and hate on the ones they didn’t, but you have to let go!
Some people loved the movie and are going to buy it when it comes to DVD. If you didn’t like it, don’t buy it.
My question is for those who liked the movie only! Does anyone know if there is going to be some type of extended cut? I thought the time flew by in the theater and almost felt it was a little rushed at the end. An extended cut would be really interesting to watch. Please haters no comments about how much more you would hate an extended cut. Lets show some maturity here.
Comments on this site have become so depressing and boring. I think it’s time to pack it in. I can’t believe the animosity on here. I think I’ll stick with Thumper’s mom: “If you can’t say something nice, don’t say nothing at all.” At least that was Thumper’s translation. His mother probably used proper English. I wasn’t a big fan on Benjamin Button, but why would people comment with outrage that Criterion is including it in their catalog? Why do you care? Is it hurting you? You don’t even make interesting comments about the film, just negativism. Same with Slumdog. An article on the Criterion release – I’m not sure how that warrants any comments on Slumdog. Can’t we all just get along. The sarcasm may not be coming through, but lighten up, folks. It’s a DVD release.
#49
Again with the “ad hominem”. You must use that a lot to impress peers and school teachers.
Another pseudo-intellectual graces us with his presence! I am struck with amazement and too sunned by the sheer brilliance of your comment. Nobel prize now, please!
You don’t like it when people call a screenplay-less film Crap, don’t come here. Again, if you don’t like me, you have other places to visit and impose your Oh I Am So Superior I Should Be Crowned With a Pulitzer attitude. I am sure you can join a book club and be as articulate as you can and try to impress others with your knowledge of metaphors and your insults hidden as “Education”. You are just plain SNOB. And that’s a direct insult.
If you, as others, are looking for an argument over why Slumdog is overrated crap:
1 Rushdie seems to think so
2 others here seem to think so
3 – of the 5 critics in one of our leading news outlet, Publico, four gave it a 0, one gave it a 1 (from a scale of 0 – being terrible, to 5 – being masterful), Benjamin Button did a bit better, though not stellar, with some 2’s and 3’s; Milk did 4’s and a 5.
Yes please, continue to awe the world with your articulate and high-pedigree literacy and insult me some more. It will never detract from the fact that SM is the most overrated film this decade, so far.
You know what else is high-pedigree? My dogs.
Love,
T.
“My question is for those who liked the movie only! Does anyone know if there is going to be some type of extended cut?”
Tom, I’ll volunteer an answer since I didn’t just like Benjamin Button, I loved it (and as much as I admire Danny Boyle was hoping for a Best Picture/Best Director split).
There’s a youtube video interview with Heavy Metal producer Kevin Eastman where he talks about Fincher’s feud with Paramount over the running time. Around 2:15 into the clip Eastman says Fincher refused to give in to Paramount (with a “fuck you”), so I think we got to see the movie Fincher intended us to see. His director’s cuts are usually very minor tweaks on the theatrical versions (wasn’t the DC of Zodiac 4 minutes longer?), so I think he’s pretty good at getting his entire vision on the screen.
Another obstacle to a longer version would depend on whether or not any missing scenes had their special effects complete before being trimmed. Any further post-production work on rough-cut shots would probably be really expensive before those scenes could be integrated seamlessly into the movie.
Who knows, though? Remember last June, 25 missing minutes from Lang’s Metropolis were discovered in Argentina? That only took 81 years, so let’s be patient.
Back to subject.
Criterion releases seem to me to hold back on the audio and subtitle department, as well as irritatingly region locking them;
The link provided in the article sheds some light on the Audio and Subtitle options on the Blu-ray version of Criterion / Paramount’s joint Benjamin Button release:
“The two-disc Blu-ray is presented in 1080p high definition with English 5.1 DTS-HD Master Audio™, French 5.1 Dolby Digital and Spanish 5.1 Dolby Digital and English, English SDH, French and Spanish subtitles.” – so happy about the 5.1 DTS-HD track, but with 50GB of space to use, surely they could have added a few more subtitle options… The portuguese blu-ray market is so sad, it sees only 3 or 4 new releases a month, all studios accounted for; this will get here around 2010
*sigh
T.
PS: Ryan, the “Extended cut” of Fincher’s Zodiac is actually, just as you pointed out, only a few minutes longer, mainly due to a scene with some of the main characters discussing the Zodiac case over the phone. It adds to the movie, but doesn’t do so in any decisive way, in my opinion (a brilliant film).
Thanks, Tufas.
Should also be mentioned that David Fincher has always made sure his movies get the deluxe treatment on DVD. Three of his films are on the DVD Verdict list of 100 Best Discs — for superior DVD presentations.
#24. Panic Room: Special Edition
#72. Zodiac (2-disc special edition)
#81. Se7en: Platinum Series
Would love to see this new relationship with Criterion result in a new edition of The Game.
I also loved the UK version of Fight Club’s DVD release, which included at least 2 audio commentary tracks, one of which had Pitt, Norton and Bonham Carter really giving out some impressive thoughts on the film. Zodiac is one of my best Blu-rays, picture-quality is very high and extras galore!
On a side note, also, blu releases of the BP nominees this year:
Milk is already out (my order should arrive next week) – http://www.blu-ray.com/movies/movies.php?id=3957&show=review
Slumdog is out March 31st – Blu-ray detailed list here: http://www.blu-ray.com/news/?id=2458
and The Reader is sheduled for June, including 12 deleted scenes (twelve!) – http://www.blu-ray.com/news/?id=2447
They’re coming faster and faster these days…! Awards season ended only 3 weeks ago…!
T.
This site has become absolutely insufferable over the past six or so months. It’s been a nice couple of years. Peace.
I remember feeling the same way a few weeks ago, Trent, when you were bashing Milk because it “wasn’t gay enough” and calling The Reader “embarassingly oversimplistic… just plain silly… mediocre, bordering on laughable” and saying both films were “overrated, undeserving films. Period.”
Was especially tolerable of you to write, “I would be really happy if Milk got ’snubbed’”
Sorry things didn’t work out for you on Oscar night. Appreciate your contributions to the site, but we can all get touchy (and other words ending in -chy) when movies we don’t like get a lot of attention we don’t think they deserve… can’t we?
Thanks Ryan! I loved Benjamin Button and I admire Fincher even more for not backing down on the runtime.
@ # 51 Matt, I completely agree with what you said.
As much as I found the film awfully bland, I did appreciate it and damn does it have a soft spot in my heart for nabbing Fincher his long needed Best Director nomination (should have been Zodiac’s….). I’ll definitely get this just to make my Criterion shelf that bit more weighted down, but also for Fincher’s commentary. I absolutely adore his commentaries. Much like Ridley Scott’s commentaries, they are must listens. Brilliant from start to end it makes me yearn for a hidden Alien 3 commentary… Sigh.
I doubt that’d be the cover art though if it is a Criterion release. Surely they wouldn’t use a DVD cover art for the cover. Criterion always have beautiful cover art – I still absolutely love The Ice Storm cover and really wish there was a poster version of The Man Who Fell To Earth’s cover. Bliss.
I felt the same way about the cover art, Chamboosy. It’s the same as one of the theatrical posters, and looks more prosaic than most of Criterion’s artistic packaging. But Benjamin Button has shown up on the Criterion site now, here and here, and they’re showing the same artwork.
I’ll bet this was part of the negotiations between Paramount and Criterion.
Criterion: Look at this intricate hologram of the inner workings of a clock we have planned for the cover!
Paramount: um, pretty. But look at Brad Pitt.
Criterion: um, yeah, he’s damn pretty too.
Paramount: And people at Blockbuster at midnight will be more likely to rent a Brad Pitt movie than they will a movie about clock gears.
Criterion: But it’s so… commercial… [shudders]
Paramount: yeah, as in, moneymaking… [shivers]
Criterion: [shivers] Guess you’re right.
Paramount: You know we’re right. Give us a hug.
Call me crazy, but I think the image they went with actually does a much subtler job of conveying the film’s themes than any hologram clock gears might’ve. Note that both Benjamin and Daisy seem to be in the ghostly stage of a turn of the century photogragh, a little overexposed and posterized, as if etched awkwardly in time. The photo serves as an eerie record of bodies frozen at a point of no return, as all photos do, but particularly headshots that have us studying faces as they will never look again. Apologies if this sounds a bit esoteric, but isn’t the middle section of the film, where B & D meet again, concerned with precisely this soon-to-expire between period, where we can marvel at their glorious bodies as they meet in the middle, before separating and finally degrading? The interesting paradox of photos is that they are something that lasts, but they do so by preserving an image of bodies that are long gone. And I think the poster says all of this very quietly, and I think the added black space behind their disembodied faces says it even better than before.
If you’re crazy, then so I am, qwiggles. I saw some of the same symbolism you’re seeing when this poster pair arrived last November, and this one appeared in January. (you have to click the small preview of the January poster to see the whole thing.)
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