Frankie

Although it may initially seem like a fairly wispy story of family dynamics and romantic uncertainty, there’s a subtle depth to the proceedings that creeps up on you in resonant ways.

It drifts by with all the force of a mild summer breeze, and — as is typical of Sachs’ jewel-like work — it leaves you feeling like you could have spent another 90 minutes with these characters. For better or worse, this one also leaves you feeling like Sachs could have spent another 90 minutes with these characters, too.

Only Marisa Tomei’s face can compete with Isabelle Huppert’s ability to turn even the sappiest of scenarios into a nuanced tour de force.

There are a few surprises in Frankie, and the movie, in its placid way, wants to deliver a tug of revelation of what life is about. The trouble is, life at the end of this day doesn’t look very much different than it did at the start of the day.

Ira Sachs’s muted family drama has locations to make a moviegoer swoon, rich music and cinematography, acting that’s attentive and wise. All that’s missing is a story.

Meandering ... The film somehow lacks the structural cogency necessary to support a compelling narrative, while also encompassing enough discernible plot conventions to reveal a screenwriter’s meddling.

The scenes have no fire or lightness and sometimes they are embarrassing. ... Sachs is such a talented film-maker, but this is a baffling misstep.