Metacritic reviews

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.

The whole thing struck me as pleasant, nicely judged, and unremarkable, right up to a final shot so graceful and moving that it sent waves of poignancy backwards through the movie.

Sachs offers many gentle pleasures in his latest film ... That said, this is definitely a second-tier entry from the director.

The film studiously avoids melodrama or theatrics of any sort, enfolding instead as a kind of melancholic tone poem.

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.

Huppert is great at this, and of course she is. It’s elsewhere that the film falters.

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.

It’s just Huppert on autopilot and like that dry white wine, you can have too much of it.

The episodic, ruminative and very talky mood suggests something between Chekhov and Eric Rohmer – or at moments, Woody Allen without the humour. That’s not to say that the film is entirely dry, but there’s an earnestness about it and occasionally a leadenness in the acting.

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.