Thoughtful but unsentimental, The Curious Case of Benjamin Button marks the third collaboration between David Fincher and Brad Pitt, after the moody brilliance of Seven and the subtext-drenched nihilism of Fight Club, and is another stunning piece of cinema. Fincher, despite a track record that easily makes him one of the most consistently outstanding helmers of his generation, has habitually been labelled an excessively slick ad director - which, if anything, shows a perplexing ignorance on the part of his critics. After the criminally-underwatched Zodiac, this should be the film that finally silences the naysayers, and see's both star and director garner deserved Academy wins. Opening just after the end of World War One, our titular character is born with an odd birth defect that means he has the bones and skeleton of an old man, and may not have long to live. Unable to cope with the strange-looking child, his father instead places Benjamin the steps of an old folks' home, where he is then raised by a kindly carer. But instead of dying, Ben appears to be aging backwards, and essentially lives the life of a young man whilst appearing to be the age of a geriatric. He soon travels the world, going on a journey of magnificent self-discovery, but his heart belongs to the only person who never looked at him differently; the dying old lady who is having Ben's diary read to her by her daughter, as Hurricane Katrina hits New Orleans. It would be lazy to brand Button the further evolution of a director who has been at the top of his game for many years now - but it's hard not to notice the assured, mature hand guiding this remarkable film. After the visual exhibitionism of Panic Room, this is a film epic in scale and substance, but subtle and restrained in execution. The effects are predictably marvellous, with Pitt at one time appearing to be a freakishly realistic cross between himself and John McCain, impeccably inserted into the frame. There is even very little mention of made of the disease inflicted on Benjamin, as the film is played without so much of a sprinkle of whimsy. Pitt has always excelled while working with Fincher, and this is probably the most well-rounded performance he has ever given. It's an extremely complex role to pull off - but he never once oversells it, conveying endlessly conflicted emotions with an almost pragmatic coolness. Blanchett is also excellent, further cementing her status as one of the finest actresses currently staining celluloid, while a notable mention must go to Taraji P. Henson for her hugely affecting turn as Ben's maternal surrogate. A superbly told, genuinely beautiful tale that will already take some beating for Film of 2009.

Review by Mike Sheridan