In the end, Da 5 Bloods feels like a clumsy hybrid of two fine impulses — to make a heist movie set in Vietnam, and to make a statement about race in 2020. Alas, each intention doesn’t serve the other, and so both go unrealized.

Davidson’s appeal is essential to the movie’s success. If you know him only from “Saturday Night Live,” you’ll be surprised by him here. On “SNL,” he can be zany and annoying. Here he has a very particular quality that seems to be coming from a place of past pain. He has equanimity. Without making a fuss about it, he’s attentive to other people’s feelings. He just seems like a decent, thoughtful young guy, someone that you’d like to see come into his own.

1 Angry Black Man is a more thoughtful and intellectual exercise than its prosaic and incendiary title at first suggests.

The documentary might not complicate the picture you already had of Miranda, Kail, Veneziale and their team, but it nonetheless offers a profound testament to the value of finding your artistic collaborators.

It is so narrowly focused on neurotic obsessions that the quest for finding that fundamental nature of ultimate reality is sidetracked. What kind of approach is that for a Buddhist? Ferrara takes the easy way out.

There was an interesting idea at the heart of Judy & Punch, but the execution is disappointing. This feminist visit to the world of the old “Punch and Judy” puppet shows is tonally off, shifting and swerving when it should be precise and then turning earnest and explicit when it needs to be subtle.

Shirley is slow and uneventful, but intermittently interesting, and Moss is great. In the end, what tips Shirley into the realm of recommendation is that Moss will be the only thing anyone remembers of the movie. That means that, even if it’s only an OK experience, it should last as a good memory.

Becky is no “Straw Dogs.” Really, it’s mostly just a nasty genre movie with some gruesome scenes of violence. But it’s served well by a script that doesn’t merely embrace the gimmick of a pubescent girl fighting bad guys — it takes it seriously enough to explore it, at least a little.

The High Note begins well, ends well and even has a good middle, but there’s one extra plot turn, about 15 minutes before the finish, that’s one too many. It doesn’t spoil the movie, but it adds an unwelcome touch of sentimentality into a story that is otherwise fairly tough throughout.

The documentary is eye-opening and very much worth seeing, even though it can’t help but be disheartening.

Using long takes, tracking shots, segments where the screen goes pitch-black, and rapid-fire, overlapping dialogue, Patterson has created a film that forces an audience to pay attention for fear of missing something.

The Trip to Greece isn’t nonstop hilarity, but if you get into the rhythm of it, it’s laidback and pleasing. It’s an enjoyable trip in good company.

Sure, not everything is great. Here and there, the movie goes out of its way to be sentimental. But The Lovebirds is a pleasing comedy, funny from beginning to end. That should be enough for anybody.

It is quite simply one of the great “making of” documentaries of all-time — a short list that includes the George Hickenlooper-Eleanor Coppola documentary “Hearts of Darkness.”

For the most part, The Painter and the Thief seems authentic, a very real portrait of two unique individuals. It not only explores the artistic impulse, but also issues of relationships, addiction and rehab. It also provides an interesting glimpse into the Norwegian prison system, which is geared toward rehabilitation rather than punishment.

Ultimately, this is a very predictable picture, made by the director of “The Full Monty,” Peter Cattaneo. Its formula inevitably rises up like a wave and submerges everything Thomas is trying to do. To extend the metaphor, she swims along and doesn’t drown. But unless you love this kind of movie, Military Wives will be, at best, a pleasant diversion and, at worst, a not-so-bad waste of time.

Lucky Grandma isn’t a feel-good comedy at all, but has a parched-dry dark comic approach, keeping Grandma Wong at an emotional remove.

Scooby-Doo, where are you? The real one, I mean. The rest of this mess is just a series of nonsensical action sequences.

I hope casting agents and other industry types see Fourteen, because I want them to see Norma Kuhling (of the NBC series “Chicago Med”), who plays Jo. She takes this strong role, by writer-director Dan Sallitt, and hits it exactly right.

Capone is about as demented a movie as you can see right now, and that’s apart from the fact that it’s about a demented person. If Al Capone were ever put in an insane asylum (he wasn’t), this movie could have been made by the guy in the next room.

After watching Spaceship Earth, which was completed before the coronavirus pandemic, one can’t help but think about the current experiment conducted by Biosphere 1. As smog clears across urban landscapes due to stay-at-home orders, the vision — and the warnings — laid out by Biosphere 2 remain relevant.

Adapted by Caitlin Moran, from her own semi-autobiographical novel, it’s both a dead-on take on what it’s like to be a young critic as well as a smart movie about class and 1990s culture.

Most of Arkansas — Duke’s home state, by the way — just falls flat, despite individual scenes here and there that work.

Deerskin is funny, weird and original; it features two charismatic stars, and it does everything it needs to do in only 77 minutes.

Measured and somber, with few surprises.

On its own, Driveways would be a sweet, understated masterpiece, simply told, of human connection. But with the death of longtime distinguished stage and movie actor Brian Dennehy on April 15, director Andrew Ahn allows us to say a proper goodbye to the big fella, who gets the final six minutes of the movie all to himself.

It’s refreshing to see a film that not only spotlights a queer Asian American woman but also treats her with such respect and tenderness.

There’s a French saying, “In love, there is always one who kisses and one who offers the cheek,” and usually, the more interesting story belongs to the one doing the kissing. In A Secret Love, that’s Pat.