Francis Coppola takes another shot at a comeback with Tetro, but the response at Cannes was mixed at best. “The debut of a new Coppola stirred hope and foreboding; and both were warranted,” writes Richard Corliss in Time. “The great news is that this unquestioned giant of American cinema, who sired the Godfather films, The Conversation and Apocalypse Now in the '70s, is still making independent-minded movies three decades later. The bad news is that he made this one.” Eric Kohn of Indiewire chimes in: “Neither complete misfire nor triumphant return to form, Francis Ford Coppola’s Tetro works as a competent family drama right up until the messy final act.”

Jane Campion finds a champion for her comeback effort Bright Star in Allan Hunter at Screen Daily: “Bright Star deftly avoids the stilted, starchy quality often found in lesser period dramas. Characters appear comfortable in their clothes and settings, the dialogue flows easily from their lips and there is a quiet, everyday intimacy to the way events unfold.” The Telegraph is high on Fish Tank. “Shot with a terrific eye for pointillist detail and panorama, Arnold opens up the council estates of Essex, revealing the myriad ways in which they cramp but never entirely extinguish the spirit and imaginations of the people who live there.”

If your tastes run toward Korean vampire movies…well, the word is not so good on Park Chan-wook’s Thirst. “New settings and characters are introduced so willy-nilly, and consecutive scenes have so little formal or tonal consistency, that you’re generally floundering even as you’re gasping,” writes Mike D’Angelo in the AV Club. Variety calls it “an overlong stygian comedy that badly needs a transfusion of genuine inspiration.”