It wasn't 'till the end that I realized that Meirelles's film was written by TIFF fav Don McKellar (based, of course, on the celebrated book). Triggered simply by McKellar's involvement as a cast member I was tweaking on the similarities between this narrative and his (fantastic) Last Night. Blindness is similarly apocalyptic (with, of course, a far more serious narrative), as the world goes blind one by one. Nursing her husband, Jullianne Moore's character is the only sighted person sent to quarantine, where she must experience the horror through her own eyes, scenes of filth and disgust hidden from those blind around her.

Drenched in metaphor, the film creates a suitably somber and tense mood. Another Canadian film stalwart, Maury Chaykin, plays a man born blind, uniquely capable due to years of practice of surviving in the wretched circumstances.

Unflinching, the film nonetheless strives towards some form of catharsis, an ending that doesn't quite ring true. Still, save for the overly optimistic conclusion, Blindness is certainly worth, well, seeing.

Three Australian navy boys are on leave before shipping off to the Gulf. One of them decides to go AWOL, while his two friends spend the evening looking for him, and try to come to terms with the violence inflicted upon the seaman by superior officers.

Heavy handed and dull, there's a film in here somewhere, but it's burdened by a dry plot and conventional narrative.

Yet another World War II film, but this one has a twist - we see, quite effectively, the small decisions that when taken together result in the corruption of the soul.

Ever reliable Viggo Mortensen puts on another masterclass, as he provides a nuanced, subtle look at a man who's "good", yet drawn deeper and deeper into the Nazi ethos. With each compromise he descends further and further into that which at first he finds abhorrent, and few films have so effectively demonstrated how these seemingly innocuous moments add up in the end to great tragic events.

While it's not entirely successful, Good transcends mere morality play, and delves deeply into a subject that still seems ripe for cinematic exploration.

An exemplary documentary, frantic and kinetic, showing the cars, bombs and tits of "Ozploitation" cinema. Tracing the history of Australian Drive-in Classics, we see clips from a number of films, many of which I'd never heard of (let alone seen). This is an excellent primer of this period of cinematic history, and the participants tell humorous, compelling tales in the well crafted interviews.

The editing is almost exhausting, as each clip is rammed together, making the pace even faster than many of the films presented. Quentin Tarantino shows up, and, weirdly, he seems downright sedate compared to the crazy pace of the rest of the flick. Still, the doc never loses sight of its goals, and the frenetic pace is the perfect medium for this tale. Truly a memorable ride, and a sublime midnight delight, a greatest hits that, synergistically, supersedes its many clips and creates a whole greater than its parts.