Daniel D'Addario

This is a baleful and unfortunate tale; one feels for Granda, who describes his suicidal ideation at one point. But director Billy Corben’s attempts to connect his collision with the boomer-generation Falwells to the broader story of evangelicals in the United States seems at times like a stretch.

The imagery of destruction and assault is powerful on its own terms; it’s in building the story of the participants’ motives and actions that Four Hours at the Capitol falters, making what could have been a definitive document into a deeply flawed one.

This shapeless doc feels overlong at just over 90 minutes, because it’s unclear what, exactly, Carr and collaborator Jenny Eliscu want to say about Spears.

At 94 minutes, Howard is not and does not try to be a plumbing search through the generation of talent lost to HIV and AIDS; what it is trying to do, appealingly narrowly, is illuminate one life and the work done therein.

There’s a momentum to his story — it has a heist-movie-style checklist, carried out by a team composed of only one — that has its own satisfactions, and set-pieces with real tension, even if they lead to a less-than-novel place.

As a series, Downton Abbey sprawled, giving viewers the drama and chaos they wanted before a season-ending resolution of conflicts. Here, there’s only time for the resolutions, even before the drama happens.

Fyre, in the end, understands that the McFarlands of the world, changing the culture online but also wreaking havoc in the very real world, are bound to affect us all.

The pace never flags, but some of its entertaining devices work against Ferguson’s insightfulness.

Dern’s mastery is so complete that it makes conversation about the actor’s skill or the awards she’ll likely win seem unworthy; her performance ignites the screen with increasing tension, stuffing a lifetime’s worth of repressed trauma into a moment.