The picture is marked by superb performances and a dazzling technical display by the helmer and praiseworthy cinematographer Eric Gautier.

Combining the glamour of "To Catch a Thief" with the ruckus of a Ben Stiller movie, TV vet Pascal Chaumeil's French Riviera-set intrigue stars Romain Duris.

Despite an initial forecast of smart laughs and witty tete-a-tetes, the French dramedy Let It Rain winds up being a partly cloudy affair that lacks the cohesiveness of Agnes Jaoui’s two previous features, "The Taste of Others" and "Look at Me."

The remake ups the adrenaline factor, and features strong performances across the board, yet feels bogged down by a weighty love triangle and a subject that merits more than the old-school good vs. evil approach.

French feel-good filmmaking to the max. Yet a heaping pile of cliches doesn't prevent this touchingly simplistic tale -- from exuding a strong and universal emotional appeal.

Both evocative and faithful in its depiction of the famed French singer's lascivious life, "Gainsbourg (vie heroique)" offers up a feast of memorable chansons and an almost endless parade of drop-dead-gorgeous muses.

Picture initially suggests a sort of Gallic "Damages," with Kristin Scott Thomas and Ludivine Sagnier in the Glenn Close and Rose Byrne roles, but the corporate catfight soon gives way to a cleverly designed whodunit.

Unlike John Boorman's trippy 1967 L.A. noir of the same title, frenetic Gallic suspenser Point Blank provides few existential thrills but plenty of heart-racing action as it follows one man's marathon dash to save his kidnapped wife from execution.

Guediguian's lengthy period yarn features a wide array of characters filmed with his habitual simpatico eye, but loses the dramatic thread in too many plots, too little action and not enough originality.

Tightly wound and crafted, with robust performances by Kristin Scott Thomas and recurrent Spanish Don Juan Sergi Lopez, the picture offers a rough, no-frills take on a story as old as France itself.

Turning one of the darkest moments in modern French history into syrupy historical drama, writer-director Rose Bosch's The Round Up is a polished, pathos-driven re-creation of the Vichy regime's mass imprisonment and disposal of 13,000 Parisian Jews in summer 1942.

On a dramatic level, Dutch-born helmer Jan Kounen's hyper-stylized, emotionally vacuous film is like a pair of designer pants that look great but don't fit, or a rare vinyl recording that keeps skipping at the best parts.

Two's company, three's a crowd and eight is definitely way more than enough in writer-director Daniele Thompson's mismanaged comic ensembler, Change of Plans. Less a crowdpleaser and more a headscratcher than her previous hit, "Avenue Montaigne."

Starts off promisingly but peters out as the story, told practically sans dialogue, heads nowhere consistent.

Euro-financed production throws large chunks of change at a corporate espionage saga spanning several continents, yet most of the money seems to have landed in locations, with too little allocated to the script and stunt departments.

Delightfully old-school on the animation side, but too old-fashioned on the story side, French 2D toon A Cat in Paris is easy enough on the eyes yet never quite justifies feature-length status.

With its bloated running time and tonal shifts, the story tends to steer off course, though strong performances help keep it in tow.