Official Rejection

What a missed opportunity. These guys had a perfect chance to really dig deep into the politics and B.S. that goes on behind the scenes at the biggest film festivals in the United States. Upon renting this I expected a little "investigative journalism" to back up many of their claims and complaints regarding the politics and the favoritism towards major studios, big stars and sponsors that goes on behind closed doors at Sundance and other major festivals. Instead, we get a group of filmmakers (specifically Scott Storm, touring the festival circuit with his unwatchable film "Ten 'Til Noon") whose sense of entitlement knows no boundaries. One of the questions brought up by one of the subjects was (and I'm paraphrasing here) "just because you can make a make a movie, doesn't mean you should make a movie". One would have hoped when they were making "Ten 'Til Noon" they would have considered this very thing. This group seems to go on and on wondering why they aren't getting the attention and accolades they obviously feel they deserve, just because they made a movie. It was nauseating to say the least. What was even worse than their sense of entitlement was how disgusting these guys acted in front of their own cameras in regards to not only their opinions of many of the festivals and the people that curate and run them, but also how they basically made fun of the gift bags, accommodations and their hospitality. The same can be said about their unfunny sarcastic commentary regarding celebrities, many of who were gracious enough to appear on camera, yet the use voice over to basically make fun of their subjects. It disgusted me. In the end, I'm glad I watched this because now I know to steer of any movie or project these filmmakers are ever involved in. They don't deserve my hard earned money. They need to learn a little about something call "humility". The only time you see a modicum of humility from these filmmakers is when Scott Storm "fakes" it when accepting an award for his film... only to make fun of the very award on camera moments later. Avoid this film.

I was impressed w/ what Paul Osborne and his team were able to do w/ this film. Of course, if you've been involved in the Indie film scene for any period of time, the idea that the fest circuit is a bit of a scam has been pretty well known for a long time. Never the less, makes for a fun and engaging watch still.

I was astounded and flabbergasted at some of the absurd naiveté (and stupidity) of some of the filmmakers, in particular Blayne Weaver.... Seriously bro? Why would you even bother flying from LA to Chicago to attend the 2nd annual Chicago Indiefest? Chicago Int FF, yes, Chicago Underground (CUFF) maybe, but some mickey mouse fest no one's ever heard of? Chicago's a great town but talk about walking around blind w/o a cane, not to mention emails like 'your film may be pulled if you don't sell it out..." I may love, and have roots, in the NY Metropolitan area but ask me if I'd fly from LA to NY to attend the Ozone Park film festival, come on:) What that whole scene in Chicago speaks to, as well as the festival circuit in general, is this self aggrandizing, ego stroke that many Indie filmmakers are looking for. Something the OR filmmakers seemed unaware of is the fact that so many of these scam, mediocre festivals exist because there's an endless supply of self serving, ego maniacal saps who want to get in on the circle jerk of saying, "hey, I made a film, check it out." At a certain point filmmakers have to look in the mirror and be realistic about their place in the Industry, if any at all.

I was one of the few who endured this movie at the Phoenix Film Festival- which, big surprise, is largely featured in this mediocre film.

The root of this film is what other reviewers seem to be ignoring- it's about trying to get the film TEN TILL NOON into festivals, and TEN TILL NOON is quite simply a bad film. Netflix it and see if you disagree.

So you have the filmmakers, the director and writer, trying to get it into festivals. Who cares? We sure didn't. Certainly not after the forced pep rally that the head of the Phoenix Film Festival tried to lead.

The whole event made us a. want to avoid film festivals, especially sad little local ones who court bad movie makers thinking we'll find value in them and b. never see a movie made by Paul Osborne again.

The quality of the film is poor. Some of the interviews are fairly interesting, but I guarantee you can find a brief interview with Kevin Smith et al on youtube in under 10 minutes- saving your time and money.

I had a chance to see this movie at the Idaho Film Festival in Boise, Idaho this weekend. As an emerging filmmaker, I thought it would be great to know the inner workings of the festival circuit. Paul and Scott take the audience on the journey of submitting their film "Ten Til Noon" to various festivals around the country. You get to see what life is like after the cameras are put away, and the work truly begins. Independent filmmakers are unique, because they have to sell their work themselves. This film taught me more than I hoped! I would highly recommend it for anyone who makes films. However, it is also entertaining for those who are not in the business. One woman at our screening loved it -- and she does not make films.

Paul and Scott are amazing. I had a chance to meet them this weekend, and they have a passion for making films. Check out this documentary -- not a dull moment. It's out on DVD in November.

Official Rejection is the true story of a group of filmmakers from all parts who are trying to accomplish a single goal: To get their film in a festival. The focused stars of this documentary find themselves quickly rejected by certain big-name fests, despite the effort required to even be considered for them. Disheartened, but not easily broken, the filmmakers keep sending out their films, to smaller screenings across the U.S.

The journey of this film achieves something big that is a rarity in the documentary genre. It's smirk-out-loud funny from beginning to end. With hilarious animated cut-scenes, to the visible struggles of average Joe directors, to astute observations from the front lines and the flashbacks of everyone involved; every piece of this film makes you grin from ear to ear.

So, it's strange that this same film is also one that tells the horrifying story of self-publicizing, penniless movie creators. O.R. is eye-opening, and easily bests all other attempts at revealing an inside view of the movie industry (notably This Film Is Not Yet Rated). It's one of the only films I know of that even mentions the independent film industry in a truthful light.

Painful it may be, but if your head stops shaking at the absurdity of the festival industry long enough to hear the story being presented, it will completely change your opinions on how you absorb and critique films.