Taken as a whole, the horror film “Weapons” (Warner Bros.) tends to be subtle in its approach to intriguing and unsettling viewers.

“Triumph of the Heart,” which premiered Aug. 13 in Poland, is set to arrive in theaters on Sept. 12 in the United States.

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.