John Mulderig

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.

Way back in 1989, Patrick Swayze found an action vehicle in the tale of a brawling bouncer hired to keep the loutish patrons of an Indiana bar in line. Switch venues from the Midwest to the Southeast and substitute Jake Gyllenhaal’s biceps for Swayze’s and you have the wholly unnecessary remake “Road House” (Amazon MGM).

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.

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 understated tone bolsters the impact of the fact-based drama “One Life” (Bleecker Street). The educational value and formative potential of the film’s uplifting story, a lesser-known chapter in the history of the Holocaust, moreover, make it probably acceptable for older teens, despite some off-color vocabulary in the script.

The feel-good elements of a sports movie and a pet bonding tale are mingled in director Simon Cellan Jones’ fact-based drama “Arthur the King” (Lionsgate).