John Mulderig

This humorous spin on the genre features a clever premise and often witty dialogue. Yet any amusement to be derived from it is drowned in a flood of needless bloodletting.

Although the proceedings are acceptable for most grown moviegoers, they’ll find that the freshness and buoyancy of “Afterlife” are noticeably lacking. Maybe it’s time for “Ghostbusters” to yield the dancefloor after all.

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.

An inspiring but once little-known chapter of history provides the basis for the Holocaust drama “Irena’s Vow” (Quiver).

Can an aristocratic lifestyle and a secret narcotics business mix? According to both his eponymous 2020 film and its current small-screen variation, “The Gentlemen,” showrunner Guy Ritchie thinks they can.

Rosemary’s baby gets some competition in “The First Omen” (20th Century), director and co-writer Arkasha Stevenson’s prequel to a horror franchise that dates all the way back to 1976. While, like its long-ago predecessor, the film makes exploitative use of religion, this is overshadowed by the hideous deaths it showcases.

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 similar sense of blinkered rejection and smug relief may be detected in “Immaculate” (Neon), a vile piece of horror tripe from director Michael Mohan.