Arts & Culture

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

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

But 11/9 plays not like a much-needed blast of truth but like an all-purpose Michael Moore sequel, a self-congratulatory follow-up to several of his films, with Parkland material in the Bowling for Columbine vein, references to Sicko and even excerpts from 1989’s Roger & Me

There’s a sense that Fogelman … has been inspired in part by the broken narratives of Charlie Kaufman, as the first 10 minutes of this film feature a story-within-a-story meta fake-out with Jackson as himself, narrating the action of a screenplay written by forlorn drunk Will (Isaac)

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