as the cannes film festival enters its certain days before the announcement of awards on sunday, here’s one decisive roundup of reviews. we begin with charlie kaufman’s highly-anticipated (by me, anyway) directorial debut synecdoche, up to date york. would kaufman’s inexperience behind the camera cause him to become timid and soften his edge? if reviews are any indication, don’t bet on it.ao scott in the new york times- “mr. kaufman, the wildly inventive screenwriter of “being john malkovich” and “eternal sunshine of the spotless mind,” has, in his first film as a director, made those efforts look little short of conventional. like his protagonist, a beleaguered theater director played by philip seymour hoffman, he has created a seamless and involved alternate reality, unsettling nearly every reliance a moviegoer might procure about fix, attitude and story structure.”but not all were so impressed. j. hoberman in the village declare- “collapsing in sodden self-reflexivity after a heartening 40 minutes, kaufman’s saucy, interminable phantasmagoriawith philip seymour hoffman as a job-like theater directorretroactively improved all but the most miserablist movies i saw at cannes.”other competition titles:jeff wells on paolo sorrentino’s il divo- “i knew i was seeing something intensely audacious and stylistically rousing, but the national arena it depicts is so dry and complex and wholly-unto-itself that evenly the film makes you lean to as if you’re lying in an isolation tank.”laurent cantet’s the class/entre les meurs, according to time out’s geoff andrew- “everything rings absolutely true in this film, and everything is definitely engrossing from start to finish, despite the apparent lack of a straightforward narrative during the original hour there are no easy answers proffered to the divers questions raised about education, schools and union, but the film makes for admirably lucid, subtle and thought-provoking drama throughout. and the kids are terrific.”cinematical’s james rocchi tears into wim wenders’ latest, the palermo shooting- “after palermo shooting ended (with a title card offering the film as a exaltation “to ingmar (bergman) and michelangelo (antonioni),” which made me conjecture bergman and antonioni saying uh, thanks, but. … from the next world), the cannes press audience booed and laughed and stumbled out cold into the streets for detailed digressions and discussions on how, exactly, wenders had, as our british friends say, lost the plot. palermo shooting goes actually off the mark, or fires blanks, or has a damp fuse; i’m not sure far which firearm metaphor applies here, and if wenders can’t be bothered to have any cohesion to his signs and symbols, why should i?… it’s still a little sad to see a crucial filmmaker commission such a series of major mistakes in the name of a fairly minor film.”while i certainly admire cannes’ devotion to wenders, perhaps the competition would be improve served if, instead of reserving spots for ex-palme winners past their prime, the selectors would give some canoodle to gifted up-and-comers who deserve a higher returns people congenial, say, kelly reichardt, whose wendy and lucy played in un certain regard. here’s screendaily’s mike goodridge- “reichardt’s films are quiet and detailed, and in wendy and lucy , she provides an all too believable picture of how fine is the underline between getting by and enhancing bums and destitute unlike old exaltation, which was a two-hander, wendy and lucy is told utterly from the point of view of the same character - and her dog, of course. the beauty of the film is not only in telling a story with so few words but in showing the wordless tenderness that exists between woman and dog in a friendship which has formation her onto its fringes. “also of note was the un certain regard prizewinner, tulpan. here’s screendaily’s

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