From Kyle Smith at the Toronto Film Festival

Bleary-eyed after 14 films since Friday afternoon (if you count “Che” as two films–it’s 262 minutes plus an intermission), I can barely keep them all straight. But, some quick takes:

“Flash of Genius.” Greg Kinnear as inventor of intermittent windshield wiper. Ford steals his idea. He spends most of the movie in an endless “Civil Action” type lawsuit. Lou says Greg’s performance is Oscar bait. I think he’s fine in the movie, but it’s just too small to get any Oscar notice. It’s more of a TV movie. No one is going to pay to watch Kinnear fight a lawsuit for two poky hours. This is the kind of movie that comes from a magazine article (in this case, one by John Seabrook in The New Yorker) that makes some scout think: “Hey! This is just like a movie!” Problem: it’s just like a movie everyone has already seen a thousand times. There’s nothing much wrong with it. It’s well-done. People who see it will enjoy it. But it just isn’t original. I predict zero Oscar nominations. Kinnear’s other movie at the fest, “Ghost Town,” is much more fun.

Miracle at St. Anna Worst Spike Lee movie ever? There is hot competition for that title. I might go a step further and say this is the worst ambitious picture of the year, a crazed mess that mingles racial commentary, bewilderingly poor action scenes, needlessly graphic violence and clunky comedy interludes. Oh, and it’s 2 hours and 40 minutes, has no stars and features a surreally abysmal ending. Good luck marketing this one, Disney.

Pride and Glory Edward Norton and Colin Farrell are cops, Jon Voight is a daddy cop, Noah Emmerich is the brother of the guy who runs New Line cinema and consequently must be in every New Line release. Again, preposterously overblown, painting contemporary New York as the world capital of thug cops. Everyone swears a lot to make up for the fact that the script doesn’t come close to authenticity.

Rachel Getting Married Anne Hathway, just out of rehab and facing up to serious internal demons, is sprung to attend her sister’s wedding at their posh Connecticut family’s house. “Margot at the Wedding” meets “Ordinary People.” I second Lou: Hathaway is brilliant, all but certain to get an Oscar nomination. I thought the film was just about perfect until it went flat in a third act that featured a 10-minute musical interlude just when things should have been wrapping up. Jonathan Demme’s best film in quite a while. I expect Jenny Lumet’s script will get an Oscar nod as well. Yes, she’s Sidney’s girl.

Burn After Reading An oddball Coen Brothers comedy that has no likable characters and

ends like a shaggy dog story. I didn’t hate it, as many do. The stupidities of the gang of fools were well observed. But the movie is kind of a throwaway. Perhaps it’ll look better on repeat viewings.

Blindness As grim as a Holocaust movie, this cautionary fable finds blindness striking citizens suddenly in an unnamed city in an unnamed country. Julianne Moore, Mark Ruffalo and Gael Garcia Bernal are victims who are herded into a filthy abandoned hospital where they create a microcosm of man’s cruelty for two grueling hours. Half a dozen viewers (at least) walked out after a rape scene played with “Clockwork Orange” jauntiness. I felt the film lacked, er, a clear vision.

Che Whew. Four hours-plus of Communist agitprop, told in a dreary, dingy style by an excrucatingly self-indulgent Steven Soderbergh. Benicio del Toro may well win an Oscar nomination, but no one is going to see this movie.

The Wrestler A nice little movie about a Hulk Hogan-style wrestler (Mickey Rourke, in an amazing blond mullet) does the cliches and does them well. At one point, when the Rourke character goes to look up his daughter (Evan Rachel Wood), from whom he has been estranged, to beg her to let him back in his life, I wondered how many times I’d seen this exact scene before. Still, it’s a crowd pleaser and could bring Rourke an Oscar nod.

Slumdog Millionaire As colorful as Bollywood and as urgent as “Trainspotting,” this movie is so blazing with color and sound that it’s like it was made in a higher medium than every other title I’ve seen here. Director Danny Boyle has disappointed me with pretty much every film since “Trainspotting,” which is one of my favorites, but he’s back on top with this story of a ghetto orphan from Mumbai/Bombay who gets a chance to appear on “Who Wants to Be a Millionaire.” I’d say it’s the best fiction film I’ve seen this year and I expect Boyle to get the Oscar nomination for best director he deserved for “Trainspotting.”