![Screening Log: 16 May 2012
1. Polisse (2011, Maïwenn) Review forthcoming, but short version: takes a refreshingly skeptical look at an extremely sensitive subject, although surely not everyone in CPUs screams and rages this much. [screener]
2. The Intouchables (2011, Olivier Nakashe & Eric Toledano) Review forthcoming (maybe), but short version: has moments, he’s loath to say. Too likable to fully resist, although even for a bald crowd-pleaser it’s quite thin. Having trouble even sussing out a storyline beyond “unlikely friends instantly click, continue clicking until there’s something like an ending.” Does avoid being simply ”rich guy cheered up by funny black guy.” So it’s not The Toy. [advance screening with charmed crowd]
3. Oslo, August 31 (2011, Joachim Trier) Nearly as depressing as advertised; as with Reprise, I’m close enough to this subject that, even as I have “problems,” I could never come close to resisting. (I’ve never done hard drugs, but the lead’s junk habit is a stand-in for anyone who has made it into their mid-30s without ever traditionally settling down nor even finding a robust life path.) And while I’m okay with Trier jettisoning the energy of Reprise, I did miss the details. This seems kind of basic, almost generic in a way, when his gift is really his specific personality. Montages, especially the opening one, devastating, though.](http://24.media.tumblr.com/tumblr_m469n3Uptd1qzoio3o1_500.jpg)
Screening Log: 16 May 2012
1. Polisse (2011, Maïwenn) Review forthcoming, but short version: takes a refreshingly skeptical look at an extremely sensitive subject, although surely not everyone in CPUs screams and rages this much. [screener]
2. The Intouchables (2011, Olivier Nakashe & Eric Toledano) Review forthcoming (maybe), but short version: has moments, he’s loath to say. Too likable to fully resist, although even for a bald crowd-pleaser it’s quite thin. Having trouble even sussing out a storyline beyond “unlikely friends instantly click, continue clicking until there’s something like an ending.” Does avoid being simply ”rich guy cheered up by funny black guy.” So it’s not The Toy. [advance screening with charmed crowd]
3. Oslo, August 31 (2011, Joachim Trier) Nearly as depressing as advertised; as with Reprise, I’m close enough to this subject that, even as I have “problems,” I could never come close to resisting. (I’ve never done hard drugs, but the lead’s junk habit is a stand-in for anyone who has made it into their mid-30s without ever traditionally settling down nor even finding a robust life path.) And while I’m okay with Trier jettisoning the energy of Reprise, I did miss the details. This seems kind of basic, almost generic in a way, when his gift is really his specific personality. Montages, especially the opening one, devastating, though.
