It is to Hawke’s credit that he has invested what clout he has gathered in his industry into this study of an artist who never gathered much clout at all — and that the resulting film has the warm, weary rhythms of Foley’s own songs

Radner narrates, in a way, through her own audio diaries, plus some snippets of interviews and judicious excerpts from the audiobook of her perfectly titled — and just-barely posthumous — memoir, It’s Always Something

Despite the killing-spree craziness of its final reels, much of the film is a how-the-kids-live-now potboiler, replete with guileless dirty talk and immense bedroom windows that seem to have been installed with peeping in mind

The pups, named Primrose and Poppet and Phil and Potomac and Patriot, get dispatched from the organization Guide Dogs for the Blind to the homes of families dedicated to raising them for the first half of their training.

Its centerpiece is a breathless break-in at the National Anthropology Museum in Mexico City, as two 30ish suburbanites, played by Gael Garcia Bernal and Leonardo Ortizgris, attempt to loot artifacts from what is known as the Mayan room

Cosmatos delivers (as fans say) on the blood and guts, on cathartic slaughter, on the disreputable pleasure of watching a bereaved hero regard a new weapon and envision nasty uses for it

The film, I suspect, will have some minor historical value, but I fear that watching Stern well up on election night won’t offer much insight to people alive now

For the family at its heart, everything seems to be in constant, even terrifying disorder, and yet nothing really changes — not after one son discovers he’s different, not even after dad knocks out mom’s teeth

White Boy Rick has reams of story to tear through, but at heart it’s a family drama, one more concerned with the Wershes than with crack, the feds or Detroit itself

What becomes clear, watching McEnroe harangue line judges and intrusive photographers, is that the rages were birthed in a disappointed agony, a disgust at a world with inhabitants who persistently failed to see what he did

Most of Nico, 1988 takes place two years before its subject’s death, in 1986, when a now raven-haired Nico (played with an inquisitive weariness by the excellent Dyrholm) tours Europe with a band of amateur musicians desperate for gigs

Weitz’s film, concerning a Mossad team’s 1960 hunt for Eichmann, is a sort of Argo Goes to Munich, blending heist movie jollies with some moral inquiry into justice, revenge, torture and execution

The film’s wrenching centerpiece is the 2014 death of Eric Garner, killed due to “compression of neck, compression of chest and prone positioning during physical restraint by police” who suspected him of selling loose cigarettes

Happytime Murders, though, demands that we take its world somewhat seriously, that we invest ourselves in the tensions between people and puppets, that we buy into its by-the-book serial-killer narrative …

Secrets get exposed, cultural barriers get smashed and re-erected, and every apparent villain will prove heroic and every hero something of a villain

… It’s a hero-dude adventure movie based on a Michael Crichton-esque paperback techno-thriller, which means we hear more science talk than is strictly necessary, get a tour of a gleaming research facility and meet a billionaire finder (Rainn Wilson) who just might have ulterior motives

After receiving a 1,000-piece jigsaw as a gift at that party, Agnes discovers a surprise talent and passion: She can put one together in just a chunk of an afternoon

An assemblage of TV clips sets the stage: Ninety percent of all children have died within the space of a month, with the survivors gaining a variety of superpowers that the government catalogs in a color-coded chart ripped right from the Bush administration

Greenfield searches for commonalities between her subjects, linking the tacky and Trumpy nouveau riche to the strippers and pornographic performers who embody her conviction that for American women the body itself is a commodity

… It’s as scattered and disorienting as the infamous LP Having Fun With Elvis On Stage, an official cheapie that consisted of nothing but the King’s between-songs ‘70s stage banter

McKinnon has for a couple of years now been on a collision course with just this sort of role, one that, in order to fulfill the dictates of programmatic movie plotting, demands she surrender much of what audiences love about Kate McKinnon

Much of the series comes down to scenes of men digging up dogs or dogs digging up men, and then veteran actors — Sissy Spacek — talking around what it all means