Director and co-writer Edward Berger’s eponymous production of “All Quiet on the Western Front” is streaming on Netflix.

There are some things to celebrate but others to bewail about “The Banshees of Inisherin.” In fact, this bleak combination of black comedy and rural drama incorporates elements that make it acceptable for only a small number of grown movie fans.

Our latest advance is streaming TV. For those unclear on the concept, you pay a monthly fee in exchange for everything in that streamer’s library of titles and episodes.

Grown TV fans in search of eerie programming appropriate to the Halloween season may find that the mystery series “The Watcher” fits the bill. Made up of seven hour-long episodes, the show is currently streaming on Netflix.

Debates about the true nature of justice and heroism, as well as the proper use of force, pace the predictable dustups in “Black Adam,” director Jaume Collet-Serra’s adaptation of DC Comics lore.

While the mostly agreeable comedy “Ticket to Paradise” won’t necessarily transport viewers to cinematic heaven, it will take them to a good place, both visually and thematically. Set in Indonesia, the film showcases enchanting island landscapes as well as ethical ideas generally in keeping with Gospel-based morality.

As soon as the lights dimmed for the start of the show in the tiny Vatican movie theater, the crack of beer cans being opened joined the quieter crunch of popcorn.

Wrapping up a trilogy of installments that began with his 2018 reboot, director and co-writer David Gordon Green also brings to an ostensible conclusion the whole endlessly blood-soaked, 13-film franchise that reaches back to John Carpenter’s 1978 kick-off. But viewers of taste will be on their guard to see just how long this relief really lasts.

The compelling fact-based drama “Till” (United Artists) recounts a series of events that, more than 65 years ago, transformed one family’s personal tragedy into a landmark moment in the modern struggle for civil rights.

In rebooting a series that kicked off with the eponymous 1987 film, adapted from his novella by writer and helmer Clive Barker, David Bruckner re-immerses his audience in the loathsome world of Barker’s twisted imagination.