Wenders returns to form in affecting ‘Every Thing Will Be Fine’

Wenders was a leading figure of the New German Cinema of the 1970s and ’80s, making an indelible mark with often-angst-ridden early efforts such as “Kings of the Road” and “The American Friend,” and showing a more lyrical side in the fable “Wings of Desire.”

Wenders has worked steadily since then, but, except for some documentaries, his films have drawn less attention.

Tomas (James Franco) has retreated to a fishing hut on a frozen lake, where he has tense phone conversations with his girlfriend, Sara (Rachel McAdams).

There are patches of rote dialogue that undermine the effort, and some viewers will be put off by Tomas’ (and the film’s) mood of melancholy and emphasis on emotional pain.

[...] there are affecting dramatic moments to compensate, as well as a couple of good performances.

Gainsbourg endows her character with quiet decency, and veteran Patrick Bauchau registers strongly in the small role of Tomas’ father.

Wenders has a history of employing exceptional cinematographers (such as Robby Müller), and here gets fine work from Benoit Debie, whose glowing landscapes and interiors contribute at least as much as the script.

[...] viewers who know Atom Egoyan’s 1997 film “The Sweet Hereafter,” which deals with some similar concerns, should be on the alert for Wenders’ blink-of-an-eye reference to that very good movie.