More weirdly fascinating than genuinely good, this beautifully made, bracingly eccentric and often arch film will generate a measure of strong support but will bewilder more.

Cotillard’s performance is luminous throughout, enriching the willful heroine with the depth of a single obsession.

Unassuming, idiosyncratic and set in the run-down eponymous New Jersey city that has produced more than its share of noted personalities, this is a mild-mannered, almost startlingly undramatic work that offers discreet pleasures to longtime fans of the New York indie-scene veteran.

Staying Vertical slowly morphs into something closer to a dark — and darkly funny — myth or fairytale, though this transformation isn’t entirely smooth.

While the plot can sometimes feel too lightweight for feature length, with a score by composer Laurent Perez del Mar (Now or Never) that tends to overdo it on the gushy side, The Red Turtle benefits from the beautiful animation work of Dudok de Wit and his team.

This is a fitfully funny quasi-farce that takes off promisingly, loses its way mid-flight and comes in for a bumpy but safe landing.

Director Bose handles the material with a light, elegant touch. It helps that the cast, especially the remarkable Koechlin who gives a bravura performance in both physical and emotional terms, can carry it all off.

With the artistic choices he has made, Mendoza achieves a singularity of purpose in hammering home his message, and the experience compels one to watch even as one wishes to turn away.

Wolf and Sheep is an absorbing ethnographic docudrama hybrid, marbled with a curious vein of phantasmagoric storytelling

Because it wants to be a primer on a serious subject, an exciting cinematic exposé and an argument for more openness and some kind of regulatory framework, the necessities of these different strands end up getting in each other’s way.

As dark and pessimistic as the rest of South Korean thrill-master Na Hong Jin’s work, The Wailing (Goksung, a.k.a. The Strangers in France) is long and involving, permeated by a tense, sickening sense of foreboding, yet finally registers on a slightly lower key than the director’s acclaimed genre films The Chaser (2008) and The Yellow Sea (2010).

Some viewers will find the film's mannered performances and direction silly; but while Wang Tianlin's lensing doesn't match the luxuriant sheen that Christopher Doyle and Philippe Le Sourd have delivered for Wong, the production elements do add up to a coherent style.

Slow and talky but suffused with insight and intelligence, the film is another noteworthy effort from the writer/director of such intriguing if unfortunately little-seen dramas as Glass Chin and Sparrows Dance.

Unlike the films he’s co-written for Jacques Audiard (A Prophet, Rust and Bone…), which often rely on Audiard’s stunning capacity to foreground grand emotional sweeps, this is a much more constructed narrative that could only be described as a writer’s film, though one with several pleasant — if shocking is your idea of pleasant, that is — surprises up its sleeve.

Honey Buddies is a comically contagious tribute to male bonding in the great outdoors.

The tight time-frame gives the excellent cast a chance to play with intensity, making even old genre hands hold their breath and feel their minds sufficiently shaken up.

A thoughtful and illuminating examination of a provocative subject.

It's in the more personal moments — such as when the artist enthusiastically describes her painting of an elderly Marilyn Monroe — that it becomes most interesting.

It's no rival for le Carré when it comes to the old cross/double-cross stuff; but a surfeit of style and a tasty supporting turn by James McAvoy help fill the time between fight scenes, which — this being a film by the stuntman/codirector behind John Wick — are pretty much the whole point.

Serving as a gentle reminder that enduring love is still possible, My Love, Don't Cross That River is practically the cinematic equivalent of marriage counseling.

While Olympic Trials don’t usually tend to be the sort of milieu that readily lend themselves to quirky comedy, the engagingly amusing Tracktown quite capably goes the distance.

The shtick sticks in The Mind's Eye, which lovingly apes period details, this time with psychokinetic warriors instead of alien invaders. But where the first film was dour, this one works so hard at its ultra-grave air of menace that it eventually turns (intentionally, one hopes) comic, building to third-act violence that will leave the right kind of audience howling with delight.

Both informative and moving.

River ends with relief, followed by a reversal that’s the last thing you expect from this unvarnished, unsentimental tale of self-preservation: an act of quietly powerful heroism.

Sometimes all a documentary needs is one strong, charismatic personality to keep things watchable: Garnet's Gold boasts two in the form of the middle-aged eponymous protagonist and his feisty octogenarian mother.

Stuffed to its statement earrings with celebrities, fashion folk and comedian chums making cameos, this breezy blast of bawdy jokes and Bollinger product placement should lift spirits in a post-Brexit Britain.

The story’s anchored by strong performances from Belgian star Cecile de France (The Kid With a Bike, Hereafter) and French singer-turned-actress Izia Higelin (Mauvaise fille), who have a natural chemistry that’s not only credible but actually infectious.

Ethnic comedies have their limitations, and a sharper script would have helped this one to stand out from the pack. Nevertheless, audiences in a forgiving mood will enjoy the byplay among an appealing bunch of desperate characters.