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80A giddy comic fantasy, full of romance, chicanery and beguiling, sophisticated players.
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75One of the season's most watchable treats.
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75Wry and sometime bitter movie about love.
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70Jaglom's quickest and funniest picture in years and the most accessible.
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63Makes compromises itself, but only because of its small budget and its director's mixed dark-and-rosy vision, at once cynical and sentimental. Yet at least it has a vision -- of both life and cinema.
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63It isn't a good movie, but it is diverting, a showcase for Anouk Aimee, Greta Scacchi and Ron Silver, and a peephole on behind-the-scenes moves.
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63Many of the story lines offer only superficial insight into the characters; Silver's rich but unhappy mogul has been done far too many times.
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63Festival in Cannes is definitely Jaglomesque, but can't get that tricky balance right -- the result is a picture as charmingly insubstantial as the world it invokes.
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60Takes us into the heart of the desperate, needy, funny, alternately glamorous and sleazy world of the international movie business.
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60Has shades of such oleaginous insider-treading as "The Player" and "Celebrity," but the mood, like the lighting, is altogether sunnier.
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60A good deal of anger washes through this acerbic portrait of the movie business in histrionically high gear. But so does a lot of sentimentality, and as the sentimentality quotient rises, it erodes the film's credibility.
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60Festival in Cannes is an amused indictment of Jaglom's own profession; he doesn't seem to be making excuses for anybody's compromised (or even downright immoral) behavior here.
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50Even the women in Festival in Cannes feel more like sketches than fully realized people -- the aging actress, the naive hopeful, the newly minted starlet -- leaving you nothing but the showbiz satire to chew on.
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50The best of the lot are Greta Scacchi, as an actress trying to peddle her first screenplay (with herself attached as director), and Ron Silver.
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50In crafting an insider's perspective, Jaglom has done an effective job. It's too bad that nearly everything else fails.
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50With its brisk pace, breezy dialogue and gently jaundiced view of the rites of filmmaking, this is one of Jaglom's most accessible and genuinely enjoyable films.
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42Tainted by cliches, painful improbability and murky points.
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40This isn't a terrible film by any means, but it's also far from being a realized work. Jaglom has said that he “writes” his films in the editing room, but for Festival in Cannes he must have been using a crayon.
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40Even when better members of Jaglom's cast make connections, the atmosphere remains one of dull chaos.
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40Can't hold a candle to Robert Altman's 1992 comedy "The Player." Both films present themselves as knowing views of the movie business, but Mr. Altman and his writer, Michael Tolkin, really knew.
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40Has some flavor, and Ron Silver gives a swell impersonation of a cool and slimy studio executive.
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30Remains little more than a briefly fascinating curiosity, a travelogue for those of us who can't actually attend.
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30The only reason to watch this movie is for stargazing, nice shots of the sea and to revel in a world where false promises, lies and empty posturing are actively encouraged.
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25There is something offensively lazy about the thinness of the Jaglom's movie-industry characters, the simplistic problems they face, and the clumps of clumsy, apparently improvised dialogue they have to deliver.
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25Pleasantly meanders around a group of people who pitch projects and pitch woo on the Riviera.
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