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.

More than two decades later, the duo reprise their roles while screenwriter Jordan Weiss raises the stakes with further complications in “Freakier Friday” (Disney). While not a knee-slapper, the sequel is at least mostly wholesome.

For most of its running time, the intermittently amusing comedy “The Naked Gun” (Paramount), a sendup of the hardboiled cop genre, qualifies as a fun spoof that’s appropriate for most grown-ups. Yet its one sequence of utterly tasteless sexual sight gags will leave discerning viewers anything but entertained.

All six roughly 45 minute-long episodes of the series “Art Detectives” are currently streaming on Acorn TV. The British production combines the cozy variety of mystery solving that forms a staple of UK television with easily accessible sophistication.

Now joined by co-director J.P. Sans, Perifel has crafted an equally enjoyable follow-up, “The Bad Guys 2” (Universal). While this second installment continues the ensemble’s conversion story, the script — on which the first movie’s writer, Etan Cohen, collaborated with Yoni Brenner — also includes enough potty-centric material to annoy at least some parents.

Set in an alternate version of the mid-1960s, director Matt Shakman’s Marvel Comics adaptation “The Fantastic Four: First Steps” (Disney) can fairly be called the TWA Hotel of superhero movies.

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.

“Don’t Let’s Go to the Dogs Tonight” is writer-director Embeth Davidtz’s adaptation of Alexandra Fuller’s 2001 memoir of her childhood in Zimbabwe (formerly Rhodesia). The respectful and evocative drama recounts its protagonist’s slowly dawning recognition of racial inequality in her homeland.

A 19-year-old student athlete at the University of Notre Dame just competed on the televised July 14 semifinals of “American Ninja Warrior” in Las Vegas. He really isn’t doing it for the glory or the chance to “go pro” as a full time ninja warrior.

With “Smurfs,” a blend of animation and live action, director Chris Miller has given the titular blue elves, Belgian cartoonist Peyo’s trademark creatures, a big-screen reboot. Although his would-be fresh start promotes positive values and is mostly free of problematic material, it’s also numbingly uninteresting.