I have nothing but positive things to report about Slamdance and everyone who helps make it happen. I'm not saying that because they accepted my film -- if I was wasn't happy with my screening went down, I just wouldn't write anything about it. Sure, the folding chairs at Slamdance's Treasure Mountain Inn are low-rent compared to the high-tech Eccles. And yes, the Slamdance gets much less attention than Sundance, from buyers and media alike. Let's face it: most, if not all, of the films that are selected to Slamdance didn't make the cut at Sundance. But I think it's important to remember something: as great as the Sundance programmers may be (and they really are a terrific group), they are not infallible in their taste. In other words, to think that the Slamdance titles are categorically worse than the Sundance films is absurd. Any journalist or industryite who has suffered through their share of Sundance lemons can attest to this. This year, arguably the best-reviewed film during the early days of Park City was a Slamdance title: Allan Moyle's Weirdsville. So there.