“My Spy” does not try to conceal the sources it relies on for its storyline — other movies. This is a movie about a CIA agent who refers to “Notting Hill” twice, once in the first five minutes. It is also a movie that thinks it is okay to copy one of the best sequences from “Raiders of the Lost Ark” because it makes a weak joke about doing so. There is even a reference to the wedding scene in “Shrek.” The whole movie is propelled by pieces from other movies, from Melissa McCarthy’s “Spy” to Arnold Schwarzenegger’s “Kindergarten Cop” to Richard Dreyfuss and Madeleine Stowe in “Stakeout,” director Peter Segal’s own “Get Smart” and star Dave Bautista’s “Stuber.” The best I can say is that it does not lift any of its storyline from lesser films along the same lines like “Mr. Nanny” or “Stop or My Mom Will Shoot.”

So, no surprises here but that does not mean it’s not mildly entertaining along the way. Unfortunately, it is too violent for the elementary school audience most likely to enjoy it.

Bautista plays J.J., a special forces veteran now working as a field agent for the CIA. He is still better at shooting people than at spycraft. When he kills a bunch of bad guys instead of obtaining the information he was supposed to bring back to Langley his new assignment is designed to keep him out of trouble. He and Bobbi (Kristen Schaal), a tech specialist, will be on a stakeout, watching Kate, a single mom (Parisa Fitz-Henley), and Sophie, her 9 year old daughter (Chloe Coleman of “Big Little Lies”), from the apartment down the hall. They are new in town and Sophie is having trouble making new friends at school. The CIA thinks that Sophie’s uncle, who has the information they need about a possible nuclear weapon, may show up there.

But they are almost immediately busted by Sophie, who threatens to expose them unless J.J. helps her out, first by taking her to the skating rink, then by coming to school for “parents and special friends day.” He agrees, but he warns her that “This ain’t gonna end up like some movie with you and me sitting in little chairs having a tea party with dolls.” But what Sophie wants is to learn important spy stuff like lying and walking away from an explosion without looking back. And what J.J. needs is to learn how to develop actual relationships with anyone other than his fish, Blueberry and his affection for “Hit Me Baby One More Time.”

Both the action scenes and the “J.J. learns how to be vulnerable and talk to people” scene are generic and there is a lot of carnage for a movie about an endearing child. But Coleman is a gifted performer who knows how to deliver lines that are too grown-up for her age without sounding overly precocious, and her scenes with Bautista have some real warmth. The understated diversity of the cast is a plus. Ultimately, the reason we see this kind of set-up so often is that we are programmed to enjoy it.

Parents should know that this movie has a lot of violence for a PG-13 with shoot-outs, chases, and explosions, and a child in peril. There is a reference to a sad off-screen death of a parent and the issue of learning upsetting news about what he may have done. A crotch hit is portrayed as comic. There are some school mean girls and brief cyber-bullying. Lying is portrayed as an enviable skill. Strong language includes the b-word, the s-word, and more.

Family discussion: What does J.J. learn from Sophie? Why doesn’t Sophie tell her mother about J.J.? What facial cues are you good at reading?

If you like this, try: “The Game Plan,” (PG) and the PG-13 rated “Kindergarten Cop” and “Spy”

Will Ferrell, who co-wrote and stars in “Eurovision Song Contest: The Story of Fire Saga” knows that it is impossible to exaggerate the sheer nuttiness of the annual song competition, so he does not even try. He just puts us in the middle of it, almost reassuringly bittersweet in the year of the pandemic, which has canceled the real-life Eurovision for the first time since it began in 1956.

Ferrell plays Lars, an Icelander who has been obsessed with winning the song of the year competition since 1974, when he watched the not-yet-world-conquering ABBA win with “Waterloo.” (Do not think too hard about the math. Or the plot. Or anything else.)

ABBA’s stunning appearance had an even more profound impact on another child in the room, Sigrit (Rachel McAdams), who was mute until “Waterloo” inspired her to speak and sing. Now Lars and Sigrit have formed a duo called Fire Saga, and through a combination of events, including having all of the other Icelandic competitors get blown up, they are Iceland’s representatives in the competition, located this year in Edinburgh.

“Wedding Crashers” director David Dobkin keeps things moving briskly, with the highlight of the film a delightfully staged riff-off at a party for the top competitors featuring real Eurovision stars. Dan Stevens (“Downton Abbey”) has a blast playing the contest’s flamboyant front-runner, the Russian Alexander Lemtov. Just like the real Eurovision, the musical numbers are wildly over-the-top, with klieg lights, gyrating dancers, and outrageous costumes. I mean, Eurovision makes Las Vegas look like a third grade piano recital.

McAdams does not get to show her comedy skills as she did in “Game Night,” but she is always an enormously appealing performer and provides some balance to the goofiness of the Lars character. If Sigrit believes in him, we do, too. Will there be betrayals? Romantic conflicts? Live performance mishaps? A race to the airport? Is Ferrell getting too old for these boy-man roles? And for playing a romantic interest for Rachel McAdams? Are the songs goofy fun? And what about bringing biscuits to the elves? (Ah, surprised you with that one.) All of that, plus the fun of the only Eurovision songs we’ll get this year make this a treat for the pandemic summer.

Parents should know that this film has strong language, sexual references and sexually explicit statues, comic mayhem including murders with some graphic and disturbing images including a severely injured ghost.

Family discussion: Why was Erik so hard on Lars? Why was it hard for Lars to show his feelings for Sigrid? Which song would you vote for?

If you like this, try: “Talladega Nights: The Ballad of Ricky Bobby” and watch some of the real-life Eurovision songs on YouTube

Jon Stewart swings for the fences with “Irresistible,” and you’ve got to respect that, even if he only hits a double. He has taken a whole bunch of what bothers him the most about our political system, not the fumbles, pettiness, missteps, and corruption of the individuals but the more systemic problems of money and messaging and he has tried to create a Preston Sturges/Armando Iannucci-style movie that uses humor to illuminate. Sharp one-liners and a top-notch cast come close to making the characters human enough to be interesting but they are still two-dimensional. And some uncertainty of tone throws the movie off-kilter when it shifts from slightly heightened to over the top. When it leaps so far outside the bounds of the real, it undermines its best scrutiny of what is actually happening. I live inside the Washington DC beltway and exposes of political abuse are my jam, so I enjoyed it, but even I thought it made some unfortunate blunders.

The opening is promising, with Steve Carell as Gary, a Democratic political strategist and Rose Byrne as Faith, a Republican political strategist, in the post Clinton/Trump “spin rooms,” where each team tries to explain to reporters why their candidate was brilliant and definitively trounced the other side. But what we get to hear is what’s inside their heads. Gary says he will persuade them “as long as I say it repeatedly and with confidence,” and Faith concludes, “I look forward to lying to you in the future.” We get it. They’re there to win, not to be honest. But Gary was probably being honest when he predicted that Clinton would win. He was just wrong. And so for his professional future and possibly for the good of the country, he has to get his credibility back and he has to figure out how to communicate with the “rust belt blue wall” he thought was “impenetrable” until Trump got a lot of those votes and won the electoral college.

He sees a chance to prove himself when a video of a Deerlaken, Wisconsin city council meeting goes viral due to an impassioned speech by a local farmer, a retired Marine named Jack (Chris Cooper), speaking out plainly but eloquently on behalf of immigrants in his community. Gary tells the Democratic party leaders that “this square-jawed paragon of Americana is our key back to the Forbidden City. He’s a Democrat, but just doesn’t know it yet.” He thinks if he brings his national-level political expertise to a small town in Wisconsin, he can persuade Jack to run for mayor, get him elected, and “road-test a more rural-friendly message” in a place he refers to as “the middle of nowhere” he can re-invigorate progressive messaging and, by the way, his own career. So, he fires up the private jet and checks out what Wikipedia has to say about Wisconsin. In real life, he would have a ton of data in a briefing package, but it’s more fun to make him look like a big city doofus.

Jack agrees to run, the race gets some national media attention, and so Faith arrives, to make sure that they do not break the city’s record of not electing a Democrat since Robert LaFollette (Governor 1901-1906). In Stewart’s view, the only issue anyone cares about is the power of the parties; any specifics are about leverage, with no more focus on reproductive health or even the immigration issue that Jack spoke about in the viral video than on gaffes and embarrassing secrets about opposing candidates. It’s just about votes. The weakest part of the film is the blaming of the consultants who are the symptom (okay, a truly unpleasant one), not the disease. The movie very briefly touches on the funding issue, with stand-ins for the Kochs and a generic, literally high-tech billionaire with just one issue literally half a world away from Wisconsin and a scene at a Manhattan fund-raiser but barely addresses the real and most democracy-destabilizing problem of dark money and Citizens United. The small reference to super PACS, with a winking nod to “non-coordination” deserved more attention.

It’s fun to watch because it has a great cast and clever dialogue and more substance than most feature films. But it is a disappointment that someone who has such a deep understanding of American politics goes for cheap laughs about clueless big city folks not understanding the folks in the heartland instead of looking at the less-examined obstacles at least equally rich in potential for satire. The movie has at least four different endings, and at least three of them seem to undercut the point the film is trying to make. Stewart makes the same mistake Faith and Gary do; he condescends to his audience.

Parents should know that this movie includes very strong language and very crude sexual references.

Family discussion: Which candidate would you vote for and why? Would you ever run for office? What changes in the system is this movie promoting and what changes would you suggest?

If you like this, try: the documentaries “Slay the Dragon” (about the fight against gerrymandering in Wisconsin and other states) and “Primary” (about John F. Kennedy and Hubert Humphrey campaigning against each other in Wisconsin for the Democratic nomination for President) and “Welcome to Mooseport,” with Gene Hackman as a former President who runs for mayor in a small town in Maine.

“Jungle Beat” is welcome as a rare G-rated animated feature, even if it confirms the stereotype of “for all audience” films as a bit babyish and slow. Young children may enjoy the colorful jungle animal characters and sweet storyline about hugs and affirmations but anyone over age nine may find that it is overlong and a bit dull. It’s better suited to its original form as a TV series.

A group of jungle animals are surprised to find that all of a sudden they can not only talk but speak fluent English (in the series it’s just pointing and grunting). A new arrival, a purple alien from another planet named Fneep (Ed Kear), has a communications device that gives anyone nearby the power of speech. The animals are very excited and happy, especially the monkey named Munki (David Menkin) and the elephant named Trunk (Ina Marie Smith), Rocky the hippo Rocky (also David Menkin) and Humph the hedgehog (David Guerrasio). They are happy to have Fneep as a friend and offer to help him get back to his spaceship, which has crashed in another part of the jungle.

What they don’t know is why Fneep has come to earth. The people (for want of a better word) of his planet have only one goal, conquering as many planets as possible. This is Fneep’s first time, and if he does not conquer earth, it will be a humiliating defeat. Humiliation is one of what are apparently only two emotions on Fneep’s planet. The other is triumph. There is a funny scene when Freep tries to press the help button on the crashed spaceship letting us know that on Freep’s planet, failure is literally not an option.

The character design is just fair but the animation has some vigor and a strong sense of three-dimensional spaces that keep the action scenes lively. It takes a while to get there but the sweet message of friendship and kindness is delivered sweetly and it is all too rare to see a story where being nice is triumph of its own.

Parents should know that this movie has some mild peril and hurtful parental disapproval.

Family discussion: What does friendship feel like to you? Why didn’t Fneep’s planet know about kindness and friendship? Would you like to explore other planets?

If you like this, try: “Planet 51” and “Monsters vs. Aliens”

As Irving Berlin said, there’s no people like show people and one of the bright spots of the pandemic era has been the contributions of performers from Broadway. I absolutely love this joyous version of “Hairspray’s” “You Can’t Stop the Beat.”