The diva-vs.-assistant dynamic in “The High Note” at first blush may seem like a cut-and-paste borrowing from “The Devil Wears Prada,” with the music industry swapped in for the fashion world. But Nisha Ganatra’s crowd-pleaser isn’t a cover by any means.

“Note” is refreshingly original and assured even if it taps into universal themes of ambition, fame, romance, family and second acts in life. It’s our pick of the week.

The diva is mercurial singer Grace Davis (Tracee Ellis Ross — daughter of Diana Ross), a superstar with a soulful set of pipes and a haughty persona. She’s tough and demanding on her personal assistant and wannabe producer Maggie (Dakota Johnson).

Given how the music industry has treated her, Grace could easily be a monster. Maggie is a grateful assistant, but when she meets cute with a sexy rich musician (Kelvin Harrisons Jr.), she sets out to be his producer. But while you might suspect you know what screenwriter Flora Greeson has in store for these well-written characters, you’ll probably be wrong.

Surprises abound in “The High Note,” from Maggie’s believable optimism to Ice Cube’s boisterous turn as Grace’s exasperated manager. And Ellis Ross aces the most difficult role with clarity, understanding and depth. She and Johnson have the best, most incisive scene when Grace reveals she knows she’s getting played by the “guys” for their profit.

“The High Note” does have problems, and slips near the finale with an awkward plot development that should have been cut. But you’ll permit that contrivance given that everything that proceeds it, from the costumes to the music to the performances, are terrific. Details: 3 stars out of 4; , available for streaming May 29 on various platforms.

Two other new releases — both documentaries — also address the male-dominated music industry.

“Kate Nash: Underestimate the Girl”: An ideal companion piece to “Note” is this frank documentary on the up-and-down career of Nash, a young U.K. sensation whose career crashed when she chose to follow her aspirations instead of take marching orders from male music industry suits. Amy Goldstein’s documentary doesn’t soft-pedal the sacrifices that Nash and her all-girl band made to stand by their integrity in the face of corrupt managers and rejection from studio honchos. Details: 3 stars; available via Alamo on Demand; film will be released to additional streaming platforms in streaming in August.

“On the Record”: New streaming service HBO Max has this controversial documentary by Kirby Dick and Amy Ziering in its initial lineup. It’s a gripping recount of the allegations of sexual misconduct leveled at two of the music industry’s biggest names — Russell Simmons and L.A. Reid — and music exec Drew Dixon’s decision to go public with them. Most probably know of this Sundance feature from the headlines over Oprah Winfrey, a longtime friend of Simmons, pulling her producing credit from it. Regardless of her reasoning, Dick and Ziering — who previously made two highly regarded documentaries pertaining to sexual abuse, “The Hunting Grounds” and “The Invisible War” — have made a thoughtful documentary on how women of color face the double-barreled curse of racism and misogyny. Details: 3½ stars; HBO Max.

“The Vast of Night”: Andrew Patterson’s splendid homage to Rod Serling and H.G. Wells endearingly rekindles the childlike sense of wonder and awe those artists created with “The Twilight Zone” or “The War of the Worlds” broadcast. During one long night in smalltown New Mexico in the 1950s, a young, inquisitive switchboard operator (Sierra McCormick) fields two bizarre calls that propel her into an incredible adventure with a hot-shot radio DJ (Jake Horowitz). Devoid of violence, “Night” holds you spellbound thanks to its dream-like camerawork, infectious nostalgia and two breakout performances. Details: 3½ stars; streaming May 29 on Amazon Prime.

“Jose”: The titular 19-year-old (Enrique Salanic) hustles to makes enough cash from flagging down cars for food orders in Guatemala City. When not assisting his mom, he wedges in time to hook up with guys. Then one encounter leads to genuine romance with Luis (Manolo Herrera), but love is never that easy. Director/co-writer Li Cheng draws out a painfully real performance from Salanic and conveys how rigid religious beliefs stifle leading a full life. The award winner is one of the best LGBTQ films I’ve seen this year. Details: 3½ stars; available on Roxie Theater (San Francisco) virtual cinema.

“The Painter and the Thief”: Art and compassion intersect in Benjamin Ree’s jaw-dropping documentary about an artist befriending the junkie who snatched two of her major works. That the camera is there to capture major moments raises a red flag for skeptics. But this tale of friendship and forgiveness is undeniably fascinating, in a “Catfish” kind of way. Details: 2½ stars, available on several platforms.

“I’m No Longer Here”: The uneasy journey of a 17-year-old gang leader forced to relocate from Monterrey, Mexico, to Queens makes for a tough watch in this neo-realistic drama that is as passionate as it is angry. Screenwriter/director Fernando Frias de la Parra slices through the sentiment as his Ulises (Juan Daniel García “Derek”) encounters resistance on American streets for preserving his cultural identity. De la Parra’s drama is gripping and essential, and addresses a problem that requires an authoritative voice like his. Details: 3½ stars; Netflix.

“Lucky Grandma”: Gruff chain-smoking Grandma Wong (the irrepressible Tsai Chin) spits at the idea of moving in with her son’s goody-two-shoes family. Still grieving her husband’s death, she takes out her savings — not much — and goes gambling. That leads her to hire a cut-rate bodyguard to ward off unwanted attention from mobsters. Sasie Sealey’s sassy comedy/drama lit up my day, and what an uproarious lead performance. It also delivers a sharp feminist message. Details: 3 stars, available on various platforms.

Contact Randy Myers at soitsrandy@gmail.com.