All these wonderful things

IN DEPTH: Part Two of The 25 Top Film Festivals For Documentaries

Continuing our first of what will hopefully be an annual look at the world's top 25 film festivals for documentary films.  For numbers 1-10, go here.  As always, rankings are based on our research as well as the anonymous thoughts of numerous filmmakers and industry figures.

11. Berlin

Our take:
Berlin screens a limited selection of documentaries each year, so those that do get in have a unique spotlight on them.  Still, the same issues at play in Toronto count here as well.  The focus tends to be elsewhere.  One of the best organized festivals in the world and surprisingly easy to navigate, plus a huge industry presence from around the world.  But one wonders what the Berlinale's POV on docs is.  This year, for the first time, a doc screened in competition (granted it was Errol Morris) and a doc screened as the opening night film (granted it was Martin Scorsese), so maybe things are changing.  But it's criminally easy to premiere at Berlin and have no one stateside take much notice.

12.  BritDoc

Our take:
A kind of English cousin to True/False, BritDoc is often compared to its American relative in terms of fun, intimacy and opportunities for connecting with others.  Plus, it has a pitching forum, although bear in mind that it is exclusively reserved for Brit filmmakers.  Only 10 international films are screened, but worth attending even if you don't have a film in the festival as the pitching forum draws a stellar line-up of major international doc players and there's none of the crush that greets them in Amsterdam.  Plus, there's the summer camp vibe - staying in the Oxford dorms, eating in the Harry Potter dining hall and drinking late into the morning at the on campus bar.  Working out some funding issues and newcomer kinks (this will be its 3rd year), but hard to beat on lots of levels.

Others:
Filmmaker:
"Great films, a tight little program of unusually high quality stuff. Great parties. Fantastic atmosphere and they really take care of all their filmmakers.   Has all of the above plus it’s a bit more serious about being an industry event too (which is good if that’s what you’re wanting). Great networking, also great atmosphere and a lot of fun."

Industry:
"The most fun of any doc fest i've been too - they make it so open and inviting, and the pitch panel is the best going.  Plus i love the open mic punk rock karaoke."

Filmmaker:
"My favorite is BritDoc, am so proud of what they've achieved and think they are just awesome on the doc-only front."

Filmmaker:
"I love great settings and if this is not the greatest....  Imagine spending a couple of days at the Harry Potter Castle. This is it! This is a great oppotunity to meet other filmmakers, but what this festival lacks compared to True/False is audience. Not the most visited screenings I have been to. Parties are great especially do not miss the "live" karaoke."

Filmmaker:
"The Harry Potter-esque setting is a little strange, and the emphasis is definitely not on the films being screened. It felt like a television pitch session with films and panels arranged around it. I've heard that this year's event will be improved on that front. I hate pitch sessions... I just don't like to see artists begging for money, I guess. But the social interaction here is great. Brit Doc attracts the cream of the British film and TV brass, and the punk rock karaoke is top notch!"

13.  Telluride

Our take:
The prestigious fall fest in the Colorado mountains only screens a handful of documentaries each year and those that do are often on their way to Toronto.  Yet for those that do get in, it's a spotlight like none other.  You will get reviewed by nearly every major outlet just by virtue of your presence here.  But warning, it's invitation only, so maybe you should know someone who knows someone to get them to make an inquiry.  Tough to beat the setting and the warm, intimate environment.

Others:
Filmmaker:
"All around best fest"

14.  Thessaloniki Documentary Film Festival

Our take:
Despite the presence of its legendary sister festival in the fall, Thessaloniki Documentary is quickly gaining a reputation as one of the best documentary festivals in Europe.  Less of an industry fest and more focused on connecting with other filmmakers.  Supportive audiences, easy to navigate, extremely social and a focus on films from oft-neglected regions of the world.  The latter can lead to some spotty programming choices but also some gems that may never have a presence outside the Balkans.

Others:
Filmmaker:
"A great fest for the visiting international filmmaker.  Though the programming isn't uniformly great, there are a lot of gems to be discovered, and their retrospectives are both surprising and very strong.  Audience turnout tends to be good (not great) and Q&A's can be lively.

Their hospitality is superb.  You can look forward to nightly dinners at a rotating group of great Greek restaurants, beautiful views of theharbor, and the occasional late night adventure to a smoky disco.  The
dinners (and their famous Ouzo lunch) are as good as any fest, and the intimacy of them (most will involve 8 - 16 people) makes for great, and relaxed, conversation.

Screening rooms are relatively close together, films are almost always subtitled in English, and their discussions, which delve much deeper into social issues than most fest panels, come with headphones and a translator."

Filmmaker:
"Great films, great guests, all very easy to have a good time at."

Industry:
"Great because they're getting regional perspectves--European, Balkan, Chinese, Middle Eastern--and grouping thematically--in a way that's unlike north American curating/grouping."

Filmmaker:
"The Thessaloniki Film Festival I am told, attracts A-list stars and directing talent from across the international spectrum of filmmaking and hundreds of film journalists, executives and fans for the biggest film fest in the Balkan Peninsula.  The Thessaloniki Documentary Film Festival (held in mid-March) attracts....documentarians! And hallelujah for that.  Freed from the blinding glitz and glam of major film festival, with no red-carpets to navigate and no VIP hierarchy to worry about, Thessaloniki Doc Fest gathers some of the best international docs and an impressive roster of filmmaker guests for an intimate celebration of the form.  The market arm is pretty low-key as well, but it does exist, yet it's not a high-pressure sales & pitch forum like HotDocs or IDFA. Thessaloniki is about discussions & dialogues - whether over some of the most sumptuous lunches & dinners I have ever encountered on the fest circuit or at moderated panels & workshops. And it gave me a chance to meet some other filmmakers in a very relaxed and nurturing setting - and they bring in some real stellar documentary talent; both legends and newcomers.  The city isn't much to look at, it was mostly gray and wet, but the students were on strike, so screenings were heaving and the hospitality was top-notch.  If you can make it a stop on your tour - it's a pretty busy time on the fest calendar (we went from there to Copenhagen for NatFilm Festivalen) - I'd highly recommend it."

15.  Festival de Cannes

Our take:
Good luck getting in, but if you do land a spot as one of the only documentaries in what is arguably the biggest festival in the world, be prepared to fight for attention like nowhere else.  There are just too many anticipated films to see, and critics and buyers put first priority on those in competition for the Palme d'Or.  Further, it can be by far the most expensive festival to screen at - it is the French Riviera after all.  Still, if lucky, you can get attention and the prestige of having played on La Croisette.

16.  AFI Fest

Our take:
Usually has an extremely strong competition line-up (treated on par with narrative) and other nonfiction titles are sprinkled throughout the festival.  Great venue in the Arclight Cinema complex, with amazing sound and picture.  Treat filmmakers exceptionally well with lots of parties and chances for interaction.  Industry presence in LA is huge - HOWEVER, most stay in Santa Monica for the concurrent AFM market and are not willing to trudge over to Hollywood for screenings.  The fest has attempted to bridge the gap between the festival and the market but hasn't yet come up with a winning combination.  If you go with no expectations (i.e. sales), you'll have a great time.

Others:
Filmmaker:
"Hats off to anybody who can figure out how the hell to have a great, dynamic festival in the middle of the city that has no middle. By the sheer genius of co-opting the ArcLight theaters and having just ONE center for all activities, AFI Fest rocks. It's also staffed by total film-loving AFI types who are very helpful and kind.  Just a fun vibe overall, and you absolutely can't beat the quality of the projection.  What other festival schedules a specific appointment for you to meet with the projectionist a half-day before your screening, where he will allow you up to a half-hour to tweak and listen and adjust the details of your screening?  I thought I'd died and gone to heaven. AFI Fest is better than the other LA Festival. And even though AFI plays the celeb card and bring out the stars for their gala events, the docs do not get buried there. They play in the same theaters as everyone else (and do just as well)."

17.  San Francisco International Film Festival

Our take:
The venerable Northern California fest has long put a big spotlight on its nonfiction line-up and provides an excellent introduction to the well-established bay area documentary community.  Tends to lean toward serious, social issue topics (as does the community) and you might find a warmer reception if that's your bent.  A screening here often disqualifies you from playing at LAFF.

Others:
Filmmaker:
"Very nice hotel and great shopping, but I felt very alone there. The festival was not very good at "putting" filmmakers together, and that is often important for the impression of the festival. I used a lot of time on transportation and it was not a very "festive" festival even though I had a lot of expectiontions from this city I have heard so much about."

18.  Seattle International Film Festival

Our take:
The biggest (in terms of length alone) of all North American festivals, Seattle's month long cinema pilgrimage is also screens more docs than nearly any other fest.  But the length and size can also be a detriment.  Filmmakers are often only in town for a couple days, making it difficult to connect with others (despite the presence of a fully furnished hospitality lounge inside the host W Hotel).  Audiences are notoriously superb, with many screenings selling out within hours of going on sale.  The size and sheer logistical issues can tend to daunt the staff, leading filmmakers to sometimes feel on their own.

Others:
Filmmaker:
"Always has great response to docs but it's huge."

Filmmaker:
"Those people are absolutely fanatical about movies (and books, and music of course).  They definitely win the contest for "Most People Willing To Stand in the Cold and the Rain to see your Film".  And again -- they're an incredibly smart audience.  The festival really makes the filmmakers feel special and throw great parties too (also a nice bonus)."

Filmmaker:
"Great for locals, but too long, too unfocussed and not a good festival for "working" your doc (unless you're premiering on opening weekend, or have a locally-produced film). The press is erratic (well, it's a 100% guarantee that the Seattle Weekly will fucking hate your movie and tell the whole city before you arrive), the technology in the theaters is subpar. This is a filmgoer's festival, not a filmmakers festival. Go there to watch."

19.  Sheffield Doc Fest

Our take:
While BritDoc is the UK's documentary summer camp, Sheffield is quickly becoming the UK's rival to IDFA, complete with market, pitch sessions and lots of opportunities to connect with European commissioning editors.  Schedule-wise, it's not always convenient for Americans, coming as it does just a couple weeks before IDFA, but it's reputation is growing quickly as an important place to premiere and screen nonfiction work on the continent. 

Others:
Filmmaker:
There weren't that many US filmmakers there, but it's the center of the UK doc scene & the UK doc scene is really fascinating & diverse (in style & content) & the programming is fascinating & there are good panels, and a great pitch market (the 'meet market' - one on one meetings with commissioners).  Good audiences, everything very close together & easy to manage, good events, well organized... I'm a big fan.  It's a great way for US people to meet European funders & filmmakers, smaller & more manageable than Amsterdam.  One of my favorite fests.

Filmmaker:
Sheffield is all about the networking and meetings and they have some pretty good films too. Not very generous to filmmakers. The parties and decent I suppose.

20.  Denver Film Festival

Our take:
One of the best regional film festivals in the US, with audience support that almost rivals Seattle and filmmaker hospitality that is second to none - flights, hotels, food, drinks, more drinks are all on the house.  Certainly one of the best social festivals - you will get ample, ample time to meet and mingle with other filmmakers and make new friends - it has a surprising strong and curated line-up of documentaries.  Its placement late in the year means that it can sometimes serve as a summary of the year's best - from Sundance all the way through Toronto and is often a champion of films that might otherwise go unnoticed, like this year's Spirit Award nominee RUNNING STUMBLED.  Not heavy on industry, but recent efforts to draw more press were largely successful in the 2007 edition.

Others:
Filmmaker:
"It was really intimate.  It felt like a family atmosphere."

Filmmaker:
"Meaningless in terms of visibility, but just a fantastic, well-organized festival where you feel appreciated and have fun."

Filmmaker:
"Like the secret bar for filmmakers that's open until 4am every night-- that's smart. Denver felt like a smaller festival, and it is, but the audiences were good, the theaters were good, and the staff was attentive to filmmaker needs."

Next up: Numbers 21-25 plus thoughts on some other fests of note.

Cinelan Launches Short Film Initiative in Berlin with Spurlock, Jarecki, Yu & Steve James Aboard

Film festivals are often used as launch pads for new film entities (witness our own Cinema Eye announcement in Park City last month) and last week in Berlin was no exception.  Chief among these for those of us in the documentary community was the launch of Cinelan, a short film content producer and publisher, which comes on the scene with the backing of an impressive roster of filmmakers and partners, including commitments from noted filmmakers Steve James, Morgan Spurlock, Jessica Yu, Eugene Jarecki and Ross Kaufman.  Each will make short films for Cinelan and serve on the company's advisory board.

Variety has more:

"Cinelan will focus on professionally produced, three-minute nonfiction films that will be distributed worldwide on multiple platforms, including the Internet, in digital cinemas, on TV and mobile phones.

The startup's syndication partners include U.K. publishing group Guardian News & Media, leading indie U.K. exhib chain Picturehouse Cinemas and Arts Alliance Media's digital distribution specialist Vizumi Network.

Cinelan is backed by London-based venture capital group Arts Alliance."

From the press release:

"'Cinelan represents a new way for smart non-fiction films to reach mainstream audiences,' said Morgan Spurlock. 'It excites me as a filmmaker to know that avenues like this are expanding to reach global audiences with movies reflecting real information and original viewpoints outside traditional media.'"

Apparently, the idea for Cinelan grew out of conversations between Spurlock, branding guru David Wales and Arts Alliance Managing Partner Thomas Hoegh.  The three were looking for a new business model that could offer opportunities for professional filmmakers (as opposed to the YouTube or CurrentTV models), while creating a viable revenue model.  In a conversation before the announcement last week, Mark Rabinowitz, who is serving on the Cinelan filmmaker relations team (in addition to his superhero identity as The Rabbi), pointed to the involvement of the Guardian newspaper, noting that a film on a specific topic such as Darfur might run on the Guardian website with articles related to the genocide there.

Cinelan is already reaching out to filmmakers by calling from submissions.  From the Cinelan website:

"In the span of three minutes, tell a compelling and complete story, suitable for all audiences and technically prepared for theatrical distribution. We’ll work with you to take your film from concept to final cut, offering feedback along the way.

We encourage you to suggest new ideas, revisit ideas from material you’ve already shot, or develop discrete films based on previous or upcoming work (however, we will not accept trailers). The field is open for you to develop any idea."

Details, such as revenue sharing, licensing rights and a description of company involvement, are on the site.

From Berlin: Errol Morris' STANDARD OPERATING PROCEDURE

Tuesday at the Berlinale, Errol Morris unveiled his upcoming Abu Ghraib documentary STANDARD OPERATING PROCEDURE.  indieWIRE's Eugene Hernandez has a full report on the press conference:

"STANDARD OPERATING PROCEDURE delves into the infamous photos that captured the incidents, embarassing the U.S. government, leading to the trial of numerous low-level American soldiers and forcing the subsequent apology by U.S. President Bush. Through interviews with many of the convicted U.S. soliders, including Megan Ambuhl, Javal Davis, Lynndie England, and Jeremy Sivitz, Morris captures first-person accounts detailing and explaining the pictures, not ot mention a damning interview by General Janis Karpinski, all pointing to the fact the actions resulted from the policies of military higher-ups.

"These guys are not the culprit and these photographs are not the entire story of what happened there," Morris noted today in Berlin. "We are looking at a very dark and disturbing chapter of American history and something that does reflect deeply on my entire country.""

Later in Eugene's piece and at the press conference, Morris is - yawn - criticized by a journalist...

"...who questioned his trademark re-creations and fictional footage. "With due respect I think this is nonsense talk," he told the reporter at the press conference, "There's this idea that truth is guaranteed by somehow the style of presentation, that if I run around with a handheld camera and I shoot with available light that is somehow more truthful." Continuing, Morris noted, "Truth is a quest...something that I have never lost sight of and never will."

"Truth is the process of thinking about the world, investigating the world and trying to figure out what is real and what is not."

"My feelings get easily hurt," Morris admitted later, returning to the earlier question about his use of fictional techniques in his work, adding, "I like to find things out...I have done my level headed best to try and uncover new material and a new story here and I believe I have done so.""

Seriously?  Two decades after THIN BLUE LINE Morris is still having to answer questions about re-creations?  Who are these people?

Meanwhile, with the screening comes the reviews. 

Writing for Screen Daily, says David D'Arcy:

"Morris's distillation of long talks with young ex-soldiers and the female general who commanded prisons all over Iraq is among the best documentaries on the Iraq war and on official efforts to cover up ugly aspects of the 'war on terror'. It will test the current American aversion to most films about Iraq.

Critical support could be just the 'surge' that Morris needs to win over large US audiences and to reach beyond his loyal art house base – right into the America where the soldiers fighting the war live. In Europe and elsewhere, S. O. P. will rally a more receptive public and will confirm general views on the Bush administration. The film is assured a long shelf life as one of the definitive statements on the US occupation."

An unsigned review/article for AFP:

"A searing documentary about the prisoner abuse scandal at Iraq's Abu Ghraib jail premiered Tuesday at the Berlin Film Festival, reopening one of the most shameful chapters of the US-led war.

In "Standard Operating Procedure", Oscar-winning director Errol Morris uses recovered footage, reenactments and the notorious photographs published round the world to shed light on the forces behind the sexual and physical maltreatment of Iraqi inmates at the hands of US troops.

The film avoids the familiar ground widely documented after the first incriminating images surfaced in 2004: the global public outrage, the trials and the eventual apology by US President George W. Bush."

Taking a decidedly contrary view is Variety critic/documentarian Todd McCarthy:

"If the medicine's going to taste as bad as it does in "Standard Operating Procedure," it had better be really good for you. But despite the coup of landing candid interviews with several of the Americans most intimately involved in the Abu Ghraib prison scandal, Errol Morris' first docu since "The Fog of War" adds relatively little insight to the public understanding of wayward military behavior more incisively analyzed in "Taxi to the Dark Side." Helmer's status and heavyweight subject matter will stir attention running up to April 18 domestic release, but the film is such a grind to sit through that a B.O. fate similar to that of other Iraq-themed releases seems inescapable."

From Berlin: Martin Scorsese's SHINE A LIGHT

Two of the most anticipated nonfiction titles of the year have their debut at the Berlinale: Martin Scorsese's opening night Rolling Stones concert film SHINE A LIGHT and Errol Morris' Abu Ghraib feature STANDARD OPERATING PROCEDURE.  The reviews for SHINE A LIGHT are starting to come in, and while the British papers seem to dig the film, not many yanks seem blown away by the results:

David Hudson, on his home turf, writes at GreenCine Daily:

"SHINE A LIGHT may be a so-so concert movie, but it's a brilliant choice for a festival opener. Why not start things off with a party? For the Berlinale's glamor-seeking sponsors, for the crowds that thronged Potsdamer Platz all afternoon and evening, and for the flash armies of the press, festival director Dieter Kosslick could hardly top the sight of Martin Scorsese, still (and for a few days more) Oscar's director laureate, and the Rolling Stones walking up that red carpet - together. Does it even matter if the movie's any good?

Fortunately, SHINE A LIGHT is, well, not bad. It'll make an okay DVD and, maybe with the right audience, a reasonably fun night out at IMAX, though to hear those who've seen U2 3D tell it, it's already been blown out of the water as a you-are-there experience."

Todd McCarthy at Variety:

"An old hand at contempo music docs dating back to his editing chores on “Woodstock,” Scorsese doesn’t attempt anything nearly as ambitious here as he did with the Band on “The Last Waltz” or with the epic Dylan piece “No Direction Home.” Other than initial glimpses of the helmer planning the shoot and fretting over not having a song list in advance, ”Shine a Light” doesn’t really bear much of the director’s imprint; it’s a proficient celebration of the band’s great songs, performing skills and durability, and perfectly enjoyable as such."

Kirk Honeycutt at the Hollywood Reporter:

"Scorsese makes peripheral and sporadic attempts to introduce a documentary flavor to the filmed concert. The movie opens with color and black-and-white footage of the preparation to shoot the concerts in the autumn of 2006 during the band's "A Bigger Bang" tour. The curious emphasis here seems to be on the missteps, frustrations and lack of communication as the film and rock cultures meet."

James Christoper of the Times (UK):

"Martin Scorsese’s homage to the Rolling Stones has some of the most stunning concert footage I’ve seen. Shine a Light, which opened the 58th Berlin Film Festival yesterday, is far more than just a night on stage in front of a live audience at the Beacon Theater in New York. The director and band chime perfectly. They are vintage bad boys of their respective arts and, true to form, they don’t seem to agree about anything."

Shane Danielson, writing for indieWIRE:

"It's no "Last Waltz," either musically or filmically. For one thing, there's no comparable sense of historical moment, but Scorsese remains adept at capturing the exchanges between musicians: the moment when everyone locks into the riff, the flashes of relief or exhaustion as a song concludes without incident. And if the performances are the ragged side of flat -- sad to say, by the second song, "Shattered", I was checking my watch -- the audience don't seem to mind in the least."

Meanwhile, Anne Thompson relays the Scorsese is planning a Bob Marley doc.

When Blogs Attack: Did 300 Really Get Booed in Berlin?

It's becoming a oft-reported tale by now.  High profile film appears at major European film festival, reports soon circulate the film is roundly booed, followed by further reports that question whether the booing was universal or was conducted by a small, yet vocal, minority of members of the press, likely (wait for it) the FRENCH!

So here we have Cinematical's Erik Davis filing a somewhat breathless report last week that Zack Snyder's upcoming theatrical version of Frank Miller's graphic novel 300 (based on the famous Battle of Thermopylae, waged between the vast Persian army and a small number of well-trained Spartan warriors) had received a "chorus of boos" in Berlin:

It started shortly after the opening credits; small groups of folks began heading for the door. It got worse when the main villain appeared on screen and all the audience could do was laugh. And, yes, it ended when whatever was left of a packed house booed Zack Snyder's 300 as the end credits scrolled up the screen

More than just reporting what he says he witnessed, Davis summed up what the screening was sure to mean for 300's potential when it opens in the US next month:

"(O)nce and for all squashing all rumors that this film would sparkle, dazzle and unite moviegoers from around the globe in the belief that 300 would be the first great flick of 2007..."

"Sure, Europeans might not gobble up Snyder's vision in quite the same way us Americans will, but I feel pretty confident in saying this flick will hit the States with a huge thud ... and not even the 300 muscles of its cast will be able to save it from the imminent death handed out by a slew of eager critics."

The problem?  Some pretty big critics and film writers were already weighing in.  And they liked 300.  From Todd McCarthy at Variety:

The Spartans fight to the last manly man in "300," a blustery, bombastic, visually arresting account of the Battle of Thermopylae as channeled through the rabid imagination of graphic novelist Frank Miller. Rendered by director Zack Snyder in a manner very similar to last year's Miller adaptation "Sin City," except in full color, this is a steroid-fueled fever dream about self-realization through extreme violence. In the larger picture, the cartoonish history lesson inescapably describes a monumental East vs. West conflagration, which might be greeted with muted enthusiasm in the Middle East. Action addicts in general and carnivorous fanboys in particular will chow down on this bloody feast.

Kirk Honeycutt at the Hollywood Reporter:

Those turned off by the sex-and-violence cartoonery of "Sin City" can embrace "300," which screened Out of Competition here. In epic battle scenes where he combines breathtaking and fluid choreography, gorgeous 3-D drawings and hundreds of visual effects, director Zack Snyder puts onscreen the seemingly impossible heroism and gore of which Homer sang in "The Iliad." A raging hero mowing down multitudes with sword, shield and spear suddenly seems plausible.

Anne Thompson at the Hollywood Reporter in a profile of producer Mark Canton:

This hugely entertaining, over-the-top action adventure uses the latest technology to bring a comic book to visceral life -- from Butler's star-making role as the heroic (and half-naked) Leonidas to bloody, hacking swordplay, a grossly deformed hunchback and a deadly shower of arrows that blots out the sky. This highly stylized graphic technique inevitably will be widely imitated.

Emmanuel Levy:

The new film is as visionary as the (mostly) black-and-white "Sin City," which was co-directed by Robert Rodriguez and Miller, but it's also more engaging and entertaining; some critics felt that the 2004 neo-noir pulp fiction was dull, despite the visual pizzazz. In contrast, Snyder's "300" translates colorfully Miller’s graphic novel of the ancient historic tale by combining inventive live action with virtual backgrounds.

Epic in scale and visual effects, “300” is a thrilling adventure about passion, courage, freedom and sacrifice, embodied by the Spartan warriors who fought one of the greatest battles in history. As such, the picture should be especially popular among teenagers and young viewers.

So it's not exactly a Da Vinci Code drubbing.  Hell, it's not even akin to the reaction to Marie Antoinette, which was reportedly booed at Cannes but which later was defended by a handful of US critics, who added that it was that aforementioned small minority of French who did the booing. 

Davis' first post, which initially failed to note that the screening in question was a press screening (he added this information in a later update), was soon followed by a scathing review of 300, and both posts quickly attracted the wrath of fan boys or Warner Bros. employees in disguise, depending on which side you seem to take in the argument.  Among the responses to the posts:

"How can the audience in Berlin be right and ALL the raving reviews be wrong? Something doesn't seem right."

"This tells me these people were morons..If they were walking out shortly after the opening credits. Too many reviews, especially from fantasy/scifi/graphic novel fans and others are showing up raving about this movie....Makes me seriously question and doubt the validity of this review."

"(C)onsider the source. There are likely to be a lot of reviewers out there who think themselves all self-important and all knowing when it comes to this. I think they are fools."

"Alright, you're obviously a douche of a reviewer, Erik Davis, with no appreciation for the source material and therefor no credentials for writing this review. You write that the dialogue "felt as if it were written by a seven year-old, and not the great Frank Miller," and then you proceed to mock dialogue FROM the graphic novel. Have you even read it? It sounds to me like someone got a little too caught up in the moment and forgot how to do their job. Remember, this review is coming from a guy who earlier today declared, on the weight of ONE industry screening, "I feel pretty confident in saying this flick will hit the States with a huge thud," disregarding the overwhelmingly positive response it's gotten in test screenings."

"Thanks to Google alerts, I have read over 100 reviews of this movie and your's is the only negative review. You kept saying the audience did not like it. The truth is that you did not like it, and that is OK."

In response, Davis first dismissed any previous positive reviews:

Oh, and those "rave reviews" are coming after one screening for a bunch of fanboys at Harry Knowles' little 24 hour festival. I wouldn't exactly count them as the majority.

But later, expressed concern and confusion over the vitriolic response:

"Wow, never in my life have I received so many hurtful comments after a review. Look folks, I always enter a film with an open mind, and really want to pick out the good versus the bad. I was looking forward to 300 just as much as the next guy, but it did not sit well with me. Was I a little bit too harsh after watching 17 films and not sleeping here in Berlin? Perhaps. I think most around me are a bit jaded by now, covering a major festival like this is pretty tough stuff.

"Is it tough watching a movie amongst people who do not like it right from the start, who block your view every five seconds as they exit the theater, laugh throughout and boo at the end? Very."

Later, on another website, Davis said that he regretted not stipulating that this was a press screening:

"What I said happened at the screening, happened at the screening. Yes, it was my fault for not specficially stating it was a press screening early on — but I did add it in later — frankly, I had a deadline and another movie to catch and was asked to write the story up real fast."

In the same comment, Davis points to a post on David Hudson's blue chip film site, GreenCine Daily, for confirmation of what he saw:

If you look online (I believe GreenCine also has a review from the same screening I was at), the boos, folks leaving the theater and the laughter are all mentioned. So, I was not imagining anything, it happened.

Problem is, while the GreenCine review, written by Adrienne Hudson (which is a sort of mixed "I hated the first half but the battle scenes were pretty great" summary), does mention booing at the press screening, it also mentions cheering:

"(F)or every cheerer at the press screening there was at least one booer, and the battle was on as the credits rolled."

Wait, there was cheering at the screening too?  And the cheering press was battling against the booing press during the end credits?  Well, where is that in Davis' reporting?

In the hours that followed, a number of blogs spread the story of a disastrous reaction to the film.  Then, suddenly, out of the blue, came these headlines:

300 gets a standing ovation in Berlin

and

300's Berlin Premiere Reported as Amazing

There is a bit of an odd thing happening over at the Berlin Film Fest. Zack Snyder's 300, the epic Spartan movie, had its world premiere there. At the world premiere the apparent reaction was incredible, with a report from Warner Brothers publicity stating that, “the screening was interrupted again and again by spontaneous applause and cheers from the 1700 strong audience.” I really want to help support this film with as much buzz as possible, because it really was incredible.

Now, I'm not trying to be a stickler, but Cinematical is reporting that at a press screening the film was booed. Although I don't think Erik is flat out lying, I think that reaction is just a bit ridiculous and not the realistic reaction of the interested movie going audience - so don't be at all swayed.

Meanwhile, Like Anna Karina's Sweater weighed in:

Finally, a few words about 300, mostly to come to the defense of Erik Davis, who is taking quite a beating for his negative review. Remember that scene in David Lynch's Dune where Sting, at his overacting worst, screams "I will kill him!"? Now imagine a film where every single line is uttered with the same bombastic fervor, whether deserved or not. This is what 300 delivers, and ridiculous doesn't begin to describe it. With laughable attempts at Shakespearian dialog, this is a film that will appeal only to adolescent fanboys or enthusiasts of greased, half-naked men fighting each other. Forty minutes was all I could manage. 300 might just be the new Showgirls.

So what are we left with?  That some critics will love 300 and some will hate it?  What's so new about that?

My problem with Davis' initial post (not his review) is that he leaves out two important facts.  First, that this took place during a press screening (which he later corrected) and second, that there was cheering to go along with the boos.  Further, that he extrapolates from this somewhat varnished reporting that the film is destined to bomb.  Call it quick on deadline, call it feeling jaded, call it "I'm positive that everyone had the same reaction I did and I know it because I talked to two other internet reporters who hated it", just don't call it good film reporting.

But what has followed is of almost equal interest and insanity - the notion from Erik's detractors that he must be "biased against the film" or be on some kind of vendetta (which he has exhaustively countered by saying that he has been hyping the film as much as the next guy - which might be part of the problem, actually) paired against the notion that those "calling bullshit" are either deluded fan boys, AICN-refugees or employees of the Burbank studio that is releasing the film.  Davis has already lodged "who are you working for?" against some of his detractors, which is childish and silly.  You went after a film with full gusto, take your lumps.

The truth about press screenings at film festivals?  You can't gauge a single thing from them.  I went to the Pan's Labyrinth press screening in Toronto and guess what.  A bunch of people left during the screening.  Some after just ten minutes, some halfway through.  By the time it was over, maybe 2/3 of the audience was left.  The applause?  Tepid and maybe from 15 people.  Should I have launched a blog post predicting that Pan's was DOA?  No, cause that's what a press screening is like.

And so we should apparently now add the notion that the press, particularly at major European festivals, like to boo films, particularly big budget Hollywood films.  And perhaps we should stop reporting that reaction as if it were the final judgment handed down from the Oracle at Delphi.