Word on The Beaver is favourable, though it doesnt seem an obvious festival film. As for Pirates 4, few releases this year would be less likely to make it to Cannes on purely artistic merit. Thats missing the point, of course. Cannes receives an enormous publicity boost from the presence of these global stars, while the distributors of their films use the festival as a glittering launch pad.
Still, its notable that so many American films that have invaded Cannes in recent years have been so ropey. They arrive with a huge fanfare but often disappoint.
Last year was a good example. Ridley Scotts Robin Hood, starring Russell Crowe, was not only welcomed to Cannes, but opened the entire festival. Its safe to say the film was no ones finest hour. The other American invader was Wall Street: Money Never Sleeps, and, while leading man Michael Douglas swanned around town looking every inch a major movie star, this Wall Street sequel won little affection or respect.
But then the pattern was set a few years previously. Its often remembered that in 2007 Jerry Seinfeld, promoting his animated Bee Movie, dressed up as a bee and abseiled down the front of the Carlton Hotel in Cannes. Its harder to recall much about the movie itself.
In 2006, The Da Vinci Code opened Cannes to widespread scorn; most of the audience at the press screening were too dispirited even to boo. As its star Tom Hanks admitted later: The reception couldnt have been worse.
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