Pike’s Colvin is haunted by visions of carnage she has seen, sometimes imagining that her London home is a bombed-out shell of itself, that a little girl she once saw die is lying in her own bed

From Lee and Jack Kirby and Steve Ditko and John Romita and many more came the great flowering of ‘60s superheroes, the ones who seemed like human beings in ways that Superman or Batman didn’t

One lord scowls with even more surliness than the rest: Chris Pine is Robert the Bruce, a Scot who will, eventually, declare himself king of his country and wage guerrilla war against Edward

… The Great Buster at heart is an opportunity to hang with Bogdanovich as he screens favorite sequences from ol’ stone face’s 1920s two- and five-reel masterpieces

It documents with an incisive drabness the group sessions, garbled sermons and general shoddiness of Love in Action, the program that 19-year-old Jared (Lucas Hedges) gets enrolled in by his parents, played by Nicole Kidman and Russell Crowe

It’s one of those biopics where everything significant that happened to a famous person happens all at once, in the couple of seconds of any given year that we see dramatized

Footage of Studio life — the lavish lights, the Broadway-style props and performance numbers, the heaving mass of beautiful people — plays here mostly in chaotic montage, with few shots related to the one coming next

… This new Sabrina dives headlong into the dark, weird truths that smart kids — and alarmed evangelicals — always assumed ruled the life of America’s favorite teenage witch, her sorcerous aunts and her black-cat familiar

Netflix has recently offered two modest stabs at this stabbing-est of genres, a pair of animated series, one of which bristles with promise

That impulse — to continually stoke our fury with Twitter takes, cable news shouters and breaking news updates — gets lanced throughout The Oath, which writer-director-star Barinholtz has set in a now just as fevered as ours

The teacher in question, played by an excellent Maggie Gyllenhaal, takes an insistent interest in the life and (apparent) art of 5-year-old student Jimmy (Parker Sevak), who occasionally goes into a shuffling trance and mumble-recites evocative verses of his own invention

Bad Times is a much better time in its mysterious middle, which tingles with darkly comic possibility, than in its final 40 minutes, when Goddard’s cards are on the table

The Hate U Give takes time to focus on the nuances of Starr’s life, on the ways Williamson has split her consciousness, on the effort of code-switching, on the layers of self that Starr must sort through in everyday interactions

Each beat of this plays out with exquisite delicacy, as does the exchange where the crook lays out, with exacting detail, how he’d rob this diner if it were a bank — and then takes it all back, letting her think he was joking

Double-stuffed with kill squads, killer ’80s couture, and mood-killing howlers, Fernando Leon de Aranoa’s Loving Pablo is more a greatest hits than a story, the kind of radically compressed life-of-a-legend movie where everything happens in a giddy, ridiculous gush

Its leads, feminist writer Rachel (Kathryn Hahn) and Richard (Paul Giamatti), a one-time wunderkind of no-budget theatrical productions, find themselves desperate to conceive a child even as the doctors they pay (with borrowed money) thousands to speak frankly of the odds

The cameras aren’t even there when the kids officially present their projects, but the filmmakers still wring the big day for all the drama they can, putting off as long as possible the revelation of whether any of their subjects win

The filmmakers capture Honnold’s 2016 and 2017 attempts to complete the first “free solo” climb of these granite cliffs, and the suspense is thrilling, agonizing, perhaps indecent

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

As her marriage opens up, and Colette begins to take lovers of her own, Knightley summons up a moving sense of both relief and recklessness

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

Roth’s film is a funhouse throwback, a scare-the-kids goof with a top-shelf cast, an antique shop’s worth of creepy windup dolls and more heart than you might expect — and, like those jack-o’-lanterns, it’s got more teeth, too