John Mulderig

In the winter of 2022, businesswoman Elizabeth Holmes was convicted of large-scale fraud in a case that drew nationwide attention. The following spring, Holmes reported to a Texas prison to begin serving her 11-year sentence. A little more than a month before she did so — with Holmes’ cooperation and that of her live-in fiance, Billy Evans — filmmakers Nathan Fielder and Lance Oppenheim began to profile the couple on camera. Fielder initiated a series of intense interviews with the duo while the camera and audio crew recorded their daily lives. The result is the intriguing documentary “You Can See Everything” (A24).

The car chase has long been a Hollywood staple. But few have been as extensive as the one that consumes most of the running time of the thriller “The Mongoose” (Goldwyn). Nor has such a pursuit often been presented in so morally muddled a way as this one.

The following are capsule reviews of theatrical movies available now for streaming or scheduled for broadcast on network or cable television during the week of Nov. 8, as well as notes on TV programming for the same week.

As scripted by director Kitao Sakurai and T.J. Fixman, the martial arts fantasy “Street Fighter” (Paramount) includes a few stray admonitions about the evils of envy and egotism. Otherwise, however, this often frenetic adaptation of a popular video game franchise mostly amounts to macho nonsense.

It is a truth universally acknowledged that a Jane Austen property that hasn’t been brought to the big screen in decades must be in want of a fresh adaptation. And so we get director Georgia Oakley’s lyrical and often amusing “Sense and Sensibility” (Focus).

A number of scenes in the passable chiller “Other Mommy” (Universal) feature a secluded seaside mansion, a lighthouse and some cliffs. As such traditional visuals suggest, the film is mostly an old-fashioned frightfest, though it does include a single, very bloody sequence as well as vocabulary that marks it as strictly for grown-ups.

Returning as screenwriter and now occupying the director’s chair as well, Sorkin delivers “The Social Reckoning” (Sony), a follow-up focused on a more recent but equally contentious chapter in the company’s history. While it lacks the gripping fascination of its predecessor, the sequel is nonetheless intelligent entertainment aimed at — and appropriate for — mature viewers.

Among the subjects being held up for mockery in the grating black comedy “Digger” (Warner Bros.) is religion. While the film’s scorn might be interpreted as applying only to a hypocritical version of evangelicalism, its treatment of Christianity is so flippant that all viewers of faith will likely be affronted.