Capsule reviews of theatrical movies available now for streaming or scheduled for broadcast on network or cable television as well as notes on TV programming for the same week.

A new film promises to open people’s eyes to the 100,000 children nationwide in need of loving homes while also inviting them to be a part of the solution.

In the mid-1990s, the parishioners of an East Texas Baptist church achieved something remarkable: By adopting 77 children, they managed temporarily to empty the area’s foster care system. Their story is recounted in the affecting drama “Sound of Hope: The Story of Possum Trot” (Angel).

Though it comes across as somewhat unfocused, the animated comedy “Despicable Me 4” (Universal) retains much of the charm that has characterized the whole series of films to which it belongs. It’s an agreeable piece of fun that’s suitable for all but the very youngest.

Capsule reviews of theatrical movies available now for streaming or scheduled for broadcast on network or cable television as well as notes on TV programming for the same week.

Though it’s the third film in a franchise that kicked off in 2018, “A Quiet Place: Day One” (Paramount) serves, as its subtitle suggests, as a prequel to its predecessors. Accordingly, it recounts the opening stages of the series’ trademark showdown between resourceful humans and marauding aliens.

If the devil comes a-calling, you may need an electrician, because Moloch and his ilk have the power to make lights turn on and off at their bidding. Such is one of the primary takeaways from the often-silly horror flick “The Exorcism” (Vertical).

Raw mayhem fuels “The Bikeriders” (Focus), a fact-based drama about the rise and fall of a Chicago motorcycle gang over the 1960s and early 70s. Accordingly, only those prepared to take on challenging material should patronize this well-crafted but roisterous production.

Capsule reviews of theatrical movies available now for streaming or scheduled for broadcast on network or cable television as well as notes on TV programming for the same week.

A fact-based fish-out-of-water tale, director and co-writer Richard Linklater’s black comedy “Hit Man” (Netflix) starts off intriguingly. After some needlessly graphic forays into eroticism, however, the film’s third-act departure from the real biography of its protagonist sends a morally skewed message.