Moneyball and Brad Pitt launched big-time. The Ides of March buffed Clooney and Gosling, attracted enthusiasm, took no hits. The Telluride headliners — The Descendants, A Separation, The Artist, Shame, A Dangerous Method — seemed to increase in value. Miss Bala became an absolute must-see. Albert Nobbs held steady, and costar Janet McTeer gained. And Oren Moverman‘s Rampart and Woody Harrelson broke out and impressed. (Okay, all I know for sure is that I liked it alot, and so did Kris Tapley back in L.A.)

Sarah Polley‘s Take This Waltz registered positively (especially with Drew McWeeny), and seemed to boost Michelle Williams‘ stock. Butter held steady. The Lady screened, fared reasonably well, got acquired by the Cohen Media Group. I missed seeing The Island President…again. Salmon Fishing in the Yemen and You’re Next seemed to break through with buyers and critics alike, although I missed seeing both. I also missed Joseph Cedar‘s Footnote, but it seemed to impress almost everyone I spoke to. Hugely, I mean.

The Raid flared and then sank. Fernando Meirelles360 didn’t seem to generate much interest, let alone excitement. What happened with Cameron Crowe‘s Pearl Jam Twenty? Ask someone else, I heard nothing, etc. Wuthering Heights got picked up by Oscillloscope. I didn’t talk to anyone who saw Madonna‘s W.E. but the Venice Film Festival reception seemed to pretty much kill it, or so everyone seems to believe. Burning Man did nothing. Twixt died. Killer Joe and Machine Gun Preacher didn’t seem to register all that well. Love, Peace and Misunderstanding died. And tons of other films were seen, mezzo-mezzo’ed, enjoyed, dismissed, ignored and walked out on.