Husbands acts like it’s breaking new ground in its portrayal of male crisis, but all it really does is pull the old, tired trope of the broken man out of the box, dust it off, and pretend it’s some kind of shocking revelation. In the end, the film’s nihilism isn’t revolutionary; it’s just banal.

Breathless is often regarded as the gold standard of the French New Wave, the birthplace of cool, a pillar of cinematic innovation. But, much like the way a slacker in a black turtleneck might quote Baudrillard or Derrida in order to sound smart, the film's cultural clout is less a result of substance and more a matter of seeming to be radical without really challenging anything at all.

Unpacking the kind of conversation that you’re more likely to overhear at a table near you while you’re at some overpriced, faux-bohemian bistro, and then promptly tune out because it’s honestly more boring than trying to decipher what’s in a copy of Ulysses after ten gin-and-tonics.