Well, would you look at that. I’ve been so busy writing stuff for next week’s Hot Docs supplement that I almost forgot about all of the movies opening this week.

But only almost.

Bert Stern: Original Mad Man: Hey, did you know that the crisp fashions and stark lighting scheme of Mad Men is based on an actual aesthetic, pioneered in part by photographer Bert Stern? Here is a documentary that tells you this. John ain’t buying it.

It’s a Disaster: Todd Berger’s dreary comedy of manners about four couples trapped at brunch after a terrorist attack in Los Angeles opens just a few days after a really bad week for explosions in America. Don’t confuse luck with relevance.

Molly Maxwell: Sara St. Onge’s teen drama about a 16-year-old girl (Lola Tash) infatuated with her photography teacher (Charlie Carrick) finds favor with Rad. Wish it had been available when I was loading up on TIFF Kids screeners.

My Awkward Sexual Adventure: I  can understand Midnight’s Children and The End of Time landing on Canada’s Top Ten. (As I’ve said before, imagine the blowback if a famous Canadian director didn’t get his or her film on that list.) But I’m still unable to rationalize the inclusion of Sean Garrity’s one-not-particularly-great-joke comedy on the 2012 roster.

Oblivion: Demonstrating that the weird soullessness of Tron Legacy was not just some trick of the greenscreen, director Joseph Kosinski delivers another expansive sci-fi epic that’s as hollow as it is attractive. Although if he’d replaced Tom Cruise with Richard Jenkins — even in post-production — this could have been a masterpiece.

The Substance: Albert Hoffmann’s LSD: As the hallucinogenic compound marks its 70th anniversary (by going out to the bluffs and tripping balls, I’d expect), Martin Witz’ documentary gets a well-timed release. Rad is, like, totally down with it.

To the Wonder: Terrence Malick slips even further into the experimental than he did in The Tree of Life, telling the story of a crumbling marriage on an almost purely emotional level. Ben Affleck and Olga Kurylenko (who also does a little twirling this week in Oblivion) are impressively expressive, and Javier Bardem talks to God.

Wrong: Look, you either think Quentin Dupieux is a subversive genius bent on disassembling American cinema or you think he’s an inexplicably indulged twerp who can’t tell a story to save his life. I guess you know which side I’m on.

And there we have it! There’s something else yet to come today, but I’ll post that later on. Enjoy the suspense!