Gary Goldstein

Once you realize what the heck it is you’re watching, you might just settle in for a more diverting — or less terrible — time than first expected. But the lower your entertainment bar, the better.

Enough can’t be said about Liu’s astonishing, naturalistic turn. She’s a physical marvel here, making herself as small and inconspicuous — yet also as quietly resolute — as her complex character requires.

A laughably cheesy, empty-headed follow-up that makes the mediocre prior film shine in comparison.

It’s a tricky balancing act that Feinartz depicts with candor, grace and patience, never letting the film’s provocative pathos turn overly grim or sentimental.

Its lack of originality and emotional depth may have been more forgivable had the film been legit funny. But save a few random guffaws, this whacked-out tale of a Jewish family’s Shabbat dinner that goes wildly off the rails may prompt more eye rolls and exasperated sighs than were surely on the menu.

Yousef, who also edited the film, vividly dissects the artist’s complicated life with the help of strong archival and personal footage as well as candid interviews with family members, colleagues and a solid array of art-world figures.

Eisenberg furthers himself here as a distinctive voice, one with a keen visual sense, a masterful ability to juggle tones and an innate feel for timing and pacing.

From start to finish, it’s an original, wholly unpredictable experience. It’s also, by turns, gripping, provocative, head-scratching and disturbing, and is likely to divide viewers with its dreamlike ambitions and metaphorical musings.

The inevitable head-butting, sexually tense banter between the super-serious (and frankly dull) Cole and the vivacious, near-magically-capable Kelly never quite takes off, nor, surprisingly, does the chemistry between the two leads.

Despite a few chuckles, some capable voice work and plenty of splashy color, it proves a largely empty and exhausting ride.