Silicon Beach Film Festival Kicks Off on April 21st, 2017

Hollywood, CA: April 18, 2017

The 2nd Annual Silicon Beach Film Festival kicks off April 21, 2017 swith a huge Opening Night filmmaker meet and greet and the introduction of a  special revolutionary mobile app called Starlenz that allows users to monetize & promote their films.

Presented by Venice Media District, the event will tale place at Al’s Bar & Grill, unit 145 at the Runway, Playa Vista 12751 Millennium Drive, #140, Playa Vista 90094.

A guest appearance by actress Alice Amter from The Big Bang Theory as well as numerous actors, filmmakers and social influencers are just some of the highlights of this special event.

This will be the first time an augmented reality scavenger hunt will be held in the 4,000 sq. ft. Venice Art Crawl space, allowing guest and participants to take virtual selfies with celebrities & filmmakers.

The festival continues April 22-27th at Cinemark 18XD at the Howard Hughes Promenade where over 125 films from both local and international filmmakers will be screened, giving filmmakers a major screening platform in the entertainment capital of the world.

The Film Festival at Silicon Beach has Sandie West as producer, Peter Greene as Festival Programmer and Jon Gursha as Director.

Tickets for the event available at: https://www.eventbrite.com/e/silicon-beach-film-festival-tickets-32365146023#tickets.

 

Pure Confidence Takes Us Back To A Complicated Chapter In America’s Past

Review by Peter Foldy

It’s perhaps a little known fact that prior to the Civil War, black jockeys dominated the sport of horse racing. Pure Confidence by Carlyle Brown explores that world in Lower Depth Theatre Ensemble’s West Coast Premiere of a powerful and multi layered tale that explores the complicated relationship between master and slave.

Simon Cato (Armond Edward Dorsey) is a cocky, confident and most winning jockey owned by two children who have inherited him. Through their lawyer, they lease Simon to Colonel Wiley Johnson (William Salyers) — a man Simon rides and wins for. The colonel’s horse is also the title of this play; Pure Confidence.

Simon and the colonel have an understanding, a friendship of sorts, and the colonel and his wife begin to think of their jockey and rented slave as a distant family member. Simon begs the colonel to buy him from the children so that he in turn can buy his own freedom with money he hopes to win by racing.

The colonel’s wife, Mattie (Deborah Puette) helps Simon put his plan in motion and even allows the Simon to buy her “girl,” Caroline (Tamarra Graham) on the condition that Simon marry her. These are forward thinking, modern minded people who are certainly out of step in their class conscious, racist world.

The first act sees Simon achieve his dream. He gets his freedom, but by the second act Simon’s fortunes have changed. Injured in a racing accident, he has suffered permanent damage that prevents him from riding and now works as a bellboy for an abusive, racist hotel clerk (Eamon Hunt). His marriage to Caroline, though caring on many levels has also turned abusive. Simon vents his anger by hitting his wife.

When a newspaper reporter (Dylan John Seaton) tracks Simon 15 years later so that he can write a story about the once great jockey, we learn that it was Colonel Johnson and his wife who hired the writer to locate their former jockey.

At a touching, heart-felt reunion, these two couples, one white and powerful, the other black and struggling, try to rekindle their prior relationship in the new age of Reconstruction, but they are thwarted by the social climate, ultimately having to acknowledge that it is not a level playing field, and a legitimate friendship between them is never to be.

Staged in a black box at the Sacred Fools Theatre, this production is most impressive.  Director, Marya Mazor has crafted a poignant piece that feels as real as it is disturbing.

The set design by Tom Buderwitz and clever use of film and photo projections from Nicholas Santiago help give Pure Confidence a slick, almost off-Broadway feel. Kudos to Mylette Nora for her costume design that looks and feels so authentic. But it is the acting that makes this play well worth seeing. Armond Edward Dorsey is exceptional as the ambitious Simon. William Salyers ably unfolds Colonel’s mindset, letting us see the complexities of his character.

Tamarra Graham asCaroline” is both sensitive and fragile, but strong when she needs to be, while Deborah Puette as the colonel’s wife convincingly portrays a modern thinking woman from a troubled time.

The rest of the cast, Eamon Hunt and Dylan John Seaton are both solid in their respective roles.

Pure Confidence is a thought provoking drama that compels as it takes us back to an ugly chapter in America’s past. Its message is not only powerful – it may also move you to tears.

Where: Sacred Fools
1076 Lillian Way
Los Angeles, CA 90038

Schedule: 8pm Fridays and Saturdays, 3pm Sundays
Closing: April 30, 2017

For reservations call (323) 960-7745 or online at www.lower-depth.com/on-stage

Tickets: $25 – $34

Production photos by: Ed Krieger

 

Mark Ballas To Reprise His Acclaimed Broadway Performance In L.A. Production of “Jersey Boys”

March 31, 2017

Casting has been announced for the Los Angeles engagement of the Tony, Grammy and Olivier Award-winning hit musical “Jersey Boys,” the story of Frankie Valli and The Four Seasons, previewing May 16 and 17, opening May 18 and continuing through June 24, 2017, at Center Theatre Group/Ahmanson Theatre.

Mark Ballas

Mark Ballas will reprise his hit Broadway performance as Frankie Valli for the Los Angeles engagement of the tour. Ballas, known for his Emmy nominated work on “Dancing with the Stars,” made his Broadway debut in the role last fall (October 18, 2016 – January 15, 2017).

Critically acclaimed ‘Frankie veterans’ Aaron De Jesus and Miguel Jarquin-Moreland will play Frankie Valli at certain performances during the week. The cast of “Jersey Boys” will also feature Matthew Dailey (Tommy DeVito), Keith Hines (Nick Massi) and Cory Jeacoma (Bob Gaudio) as The Four Seasons, with Barry Anderson and Thomas Fiscella.

Directed by two-time Tony Award-winner Des McAnuff, “Jersey Boys” is written by Academy Award-winner Marshall Brickman and Rick Elice, with music by Bob Gaudio, lyrics by Bob Crewe and choreography by Sergio Trujillo.

“Jersey Boys” is the behind-the-music story of Frankie Valli and The Four Seasons. They were just four guys from Jersey, until they sang their very first note. They had a sound nobody had ever heard – and the radio just couldn’t get enough of it. But while their harmonies were perfect on stage, off stage it was a very different story – a story that has made them an international sensation all over again. The show features all their hits including “Sherry,” “Big Girls Don’t Cry,” “Oh What A Night,” “Walk Like A Man,” “Can’t Take My Eyes Off You” and “Working My Way Back To You.”

 

Australian Theatre Company Seeks Full-Length Plays For Annual Reading Series

LOS ANGELES (March 28, 2017) — L.A.’s award-winning Australian Theatre Company is inviting submissions of full-length plays to be presented by a professional director and cast as part of its 2017 Summer Reading Series, scheduled to take place this June at the Zephyr Theatre. This year’s theme is “United on Stage,” a celebration of inclusivity and diversity that reflects the cultural melting pot that is both America and Australia today.

ATC welcomes new and previously produced works by both established and emerging writers of any nationality. Although an Australian voice should be present in each piece, that voice could be represented by the writer, a character, the location or an overarching theme.

The Summer Reading Series is part of ATC’s development process for future productions. Previous themes have included “Stage to Screen” (great plays that have inspired films) and “Works by Women” (plays by Australian female writers presented on the U.S. stage for the first time). Last season’s main stage productions of Speaking In Tongues and Ruben Guthrie were both developed in the reading series.

This annual community event is also a way for ATC to connect with local and international writers, actors, and other theater practitioners, and to develop new audiences – all while enjoying some great Australian wine, courtesy of Penfolds. The readings will take place every Monday in June at 7 p.m at the Zephyr Theatre, 7456 Melrose Avenue, and are presented by the Australian Consulate General of Los Angeles. Admission is always free.

ATC was established in 2014 by founding members Nick Hardcastle, Nate Jones, Jackie Diamond and Josh Thorburn. Critically acclaimed productions have included Holding the Man, Speaking in Tongues and Ruben Guthrie. A truly collaborative company, ATC continues to harness the rich breadth of Australian talent in Los Angeles along with the finest American practitioners, creating a meaningful cultural exchange.

For more information and to submit a play for consideration, contact literary manager Leah Patterson at literary@australiantheatrecompany.org.

“Punk Rock” Screams Teenage Angst

by Peter Foldy

Our teenage years were fragile. Many of us grew up wondering how the other half lived. At times,  we wondered whether our class mates had the same fears and insecurities we did. Were they as fragile as we sometimes felt? Did they think crazy thoughts or was their journey as easy as it looked at the time?

Tony Award winning playwright Simon Stephens attempts to answer some of these questions as he examines the life of seven British teenagers in the excellent new production, PUNK ROCK, produced by Sally Essex-Lopresti and Ron Sossi, and currently playing at the Odyssey Theatre in West L.A.

Set in an up-scale Grammar school in the north west of England, Punk Rock gives us a fly-on-the-wall experience as these bright, articulate kids, living in a privileged bubble, prepare to take their college entrance exams.

William (Zachary Grant) is a quirky lad who could have easily stepped out of the hilarious British TV series, “The In Betweeners.” He is instantly likeable and reluctantly wears his heart on his sleeve. When a new girl, Lilly (Raven Scott), transfers to the school, William develops a crush on her but is soon shattered to learn that she has been seeing and sleeping with Nicholas (Nick Marini), a handsome student who is also a part of their core group.

We also meet Cissy, (Miranda Wynne) a pretty blonde who dates Bennett (Jacob B. Gibson), a savage bully who, under the guise of being macho, may in fact be secretly unsure about his sexual preference. Bennett’s main victim at school is the brilliant young student, Chadwick, (Kenney Selvey) a kid who doesn’t bother trying to defend himself from Bennett’s verbal and physical attacks. Chadwick is caught up instead in an existential belief system where nothing really matters.

Bennett’s other target of choice is Cissy’s best friend, the somewhat chunky Tanya (Story Slaughter). Bennett berates the girl, calling her fat, and Cissy does little to stop him. By her silence, she is also complicit, as are the other kids who stand by and do almost nothing to stop him. Nobody wants to get involved.

At first, the group gossips, talks about sex, teachers, and their prospects in the outside world; but as the pressure mounts and the story begins a slow simmer, the characters amp up their anxieties, allowing their true personalities to rise to the surface. We begin to wonder who will make it through this final semester. Who will allow the truth to be revealed – who will be the one to snap and reign chaos on their classmates?

Playwright Simon Stephens examines this vulnerable age where everything seemed so important. Sexual desire is hard to control and teenage angst feels like the world is coming to an end. A look, a rejection, a slight from a friend has a deep and profound effect.

Though this production might have benefited from pushing the envelope even a little further, director Lisa James manages to keep the tension building. She plays her cast like a game of chess, moving them fluidly around the stage. She is also fortunate in that she has assembled a fine cast who expertly bring this story to life.

Zachary Grant as William is charming and enigmatic; his transformation seems tragic and real. Jacob Gibson’s Bennett feels threatening but threatened at the same time – a victim of his suppressed insecurities. Kenney Selvey is the perfect little bookworm here,
detached, intelligent, and in need of a hug.

The rest of the talented performers, Scott, Marini, Wynne, and Slaughter, as well as Mark Daneri, who makes a brief appearance as Dr. Harvey, are on the mark in their respective roles. Each actor feels real and three-dimensional. Each scene change is punctuated by loud punk rock music as a statement of their youthful rebellion.

Punk Rock is raw, graphic, erotic, and ultimately highly disturbing. It reminds me of that time you pick up a large stone to find hundreds of little bugs scurrying about underneath. The turmoil is just below the surface – till it isn’t.

When: Fridays & Saturdays @ 8 p.m. and Sundays @ 2 p.m.
plus 2 Wednesdays: April 12 & May 3, and 1 Thursday: April 27, all @ 8 p.m.

Where: The Odyssey Theatre, 2055 S. Sepulveda Blvd. Los Angeles, CA 90025

Tickets: $15 – $30 (Student, Guild and Senior Discounts available)

www.odysseytheatre.com

 

 

 

 

 

 

“The Gun” – A Play Review

by Peter Foldy

An unhappily married couple and their lay-about friend engage in a power struggle over commitment and motivation in the world premier of “The Gun” by JUSTIN YOFFE now playing at the Ruskin Group Theatre in Santa Monica.

“Steve” (JOSH DRENNEN) is a troubled actor unable to climb out of his soul crushing rut. His friend, “Mike” (JOHN COLELLA) seems to take pleasure in reminding Steve that his career is in the dumps, that his life is going nowhere. An in your face, cocky know it all; Mike’s life appears to be no picnic either. His marriage to his fragile wife, “Ellen” (AUSTIN HIGHSMITH GARCES) is shaky at best. Ellen is completely under his thumb and Mike doesn’t comprehend just how demoralizing his tone is when he talks to her. Mike is a nasty piece of work and Steven and Ellen have both just about had it with him.

After blowing a promising Broadway audition, Steve storms out of the casting director’s office feeling even more of a failure. Finding himself in an alley he discovers an abandoned hand gun in a garbage can. A homeless man, (HAMILTON MATTHEWS) tells Steve he saw someone dump it there. Unfazed, Mike keeps the gun and suddenly feels empowered. Is this the catalyst he needs to step up to the plate? To rise to the occasion and realize his potential?

Returning to Mike’s apartment with the weapon in his waistband,  Steve confronts Ellen. He questions her and Mike’s relationship and tells her he sees the way her husband treats her. Knows how unhappy she must be.

Ellen opens up to Steve and when Mike returns from work he finds his friend and his wife in an embrace. Confused and feeling threatened, he confronts Steve. What starts out as a verbal challenge soon turns nasty and physical. Mike is revealed to be even more messed up then Steve. He eventually gets a hold of the gun and from here the play rapidly spirals toward its climactic conclusion.

Hindered by a monologue-heavy piece of writing the actors dig deep and manage to bring this conflicted story to life.

Josh Drennen commands the stage as the troubled “Steve.” John Colella is suitably overbearing and delivers a nuanced performance as Steve’s best friend. Austin Highsmith Garces is suitably empathetic as “Ellen,” her character’s turmoil as sad as it is relatable.

Using the unconventional stage at the Ruskin Theatre to her advantage, set designer, HILLARY BAUMAN, smoothly transitions the story between it’s various setting.  Composer, HANNAH FLOREK, helps create just the right mood with her fine score, while Director, DAVE FLOREK, keeps the the tension of The Gun wound tight, presenting a compelling psychodrama that is tough, to the point and ultimately well worth the price of admission.

When: 8pm Fridays and Saturdays, 2pm on Sundays through April 30, 2017
(No performances April 14-16, or on April 29th)

Where: Ruskin Group Theatre. 3000 Airport Avenue, Santa Monica, CA 90405

Tickets: $25 ($20 for students, seniors, and guild members) and can be purchased in advance by calling (310) 397-3244 or online at www.ruskingrouptheatre.com

Ample free parking available on site.

 

 

 

 

 

 

 

 

 

 

“Game Of Thrones – The Musical” Slays at the Macha In West Hollywood

Hollywood, CA: March 16, 2016

GAME OF THRONES-The Musical is rocking the Macha Theatre, garnering rave reviews. Co-written, Co-Produced and Directed by STEPHEN CHRISTOPHER PARKER, he is an actor with credits in a slew of hit movies including Juno, Rebound, Blades of Glory and Little Miss Sunshine. Parker also had substantial roles on prime-time television in shows such as ER, Rizzoli and Isles, Fish Hooks and 90210.

His Co-Writer and Co-Producer, STEVEN BRANDON, hails from Australia where he was a successful theater producer in Sydney, starring in and directing productions of I Love You, You’re Perfect, Now Change, and Urinetown: The Musical. With his company Canned Laughter, Steven produced productions of Rent, Lend Me A Tenor, Closer, and Noises Off. Soon after moving to L.A. Brandon and his writing partner sold a single-camera comedy pilot titled, Single Girl Theory to ABC Family and were staffed on the CBS sitcom Friend Me.

Hollywood Revealed: Hi, guys. Congrats on the success of Game of Thrones, the musical.

Steven Brandon: Thank you.

HR: How did you decide to do this particular show?

Steven Parker: It’s been two years since we produced “Lost – The Musical” and Brandon and I thought it was time to step up to the plate again.

Steven Brandon: Parker always had a passion for Game of Thrones. The TV series is currently at the height of its popularity. I was not yet a convert and had to sit down and binge all sixty episodes to get acquainted with the show.

HR: How did the two of you meet?

Steven Brandon: At the wrap party for the final episode of ER. Parker was a recurring guest star on the show and I happened to be working on the Warner Bros. lot. I had previously seen Parker in a short film directed by my cousin and after saying hello we became instant friends.

HR: Tell us about the music for GOT. Who wrote it?

Steven Parker: When we decided that we would do original music we knew we would have to team up the other people. We are not the most musically inclined but we did write the lyrics and teamed up with ERIN STEGEMAN and ACE MARRERO, whom we know from their show, “Once Upon a Time: The Rock Opera.” Erin and Ace came on board as our musical producers and directors and really knocked it out of the park, turning in catchy rock ‘n’ roll versions of all of our songs.

HR: You have thirty cast members in your production and you doubled down by hiring two separate groups of actors who alternate the roles. How hard was that?

Steven Brandon: Casting went pretty well. A number of actors knew of our reputation from other shows, such as “Lost-The Musical, and we got a lot of strong candidates walking through the door.

Steven Parker: Knowing that we could pick two actors for each role saved a lot of arguing and dicussion because they were a lot of people that we liked and wanted in the show.

HR: What about the role of Tyrion? Did you try to get an actual little person to play Tyrion Lannister?

Steven Brandon: At first we did and we met with a few of them but they were not musical theater trained or ready. A lot of great actors and comedians came in to read but they were not the best of singers.

Steven Parker: Plus they are all constantly working and could not commit to the length of our run.

Steven Brandon: We ended up finding BRAD SIMANSKI and DREW BOUDREAU, both 5 feet tall, who are fantastic and do their job perfectly in their show stopping number.

HR: Did the cast contribute to the material in any way?

Steven Parker: Both casts are super talented and bring so much extra to their roles. The character of Jon Snow is picked on quite a lot in the show and the different reactions from MAX REED and ZACK KANNER are priceless.

Steven Brandon: During the second act the Lannister’s get together and really pour it on thick. The cast decided themselves to put on dark make up and glam outfits and become the “Glamisters.” It was not in the script but it became a brilliant addition to the show.

HR: What is next for GOT musical?

Steven Parker: We are still performing for the next five weeks at the Macha theater in West Hollywood. After that we take a small break and then head to San Diego for Comic Con to do shows from July 20-22!

HR: Why is THIS the GOT show to see in L.A?

Steven Brandon: The TV series does not come back on the air until July 16. We have the perfect refresher course with our show as we start from the beginning and tell the story in order ,parodying season one, book one.

Steven Parker: This will definitely wet your appetite for the return of the TV show and is a great introduction to fans of musical theater who have not seen “Game of Thrones” would like to know what it’s all about.

Steven Brandon: Plus we are the only Game of Thrones musical in town with an actual throne!

HR: You also have a Soundtrack?

Steven Brandon: Yes, we are very proud of our Original Cast Recording. All 12 Original songs from the show plus 4 bonus tracks. You can sample the tracks and purchase the CD at www.cdbaby.com/cd/gameofthronesthemusicala

HR: Nice! Any ticket discounts?

Steven Parker: For readers of Hollywood Revealed, you can type in the coupon code “sword” at checkout to receive a 15% discount off tickets.

HR: That’s very generous, guys. Thank you for taking the time to talk to us and wishing you continued success.

Steven Brandon: Thank you.

Where: The Macha Theatre, 1107 N Kings Rd, West Hollywood, CA 90069

When: Running now through April 16th at 8:00 pm. Fridays at 8pm, Saturdays at 4pm and 8pm, Sundays at 7pm.

Tickets: www.gotthemusical.com

(Remember the discount code)

 

 

“Shades Of Disclosure” Celebrates Life

Review by: Peter Foldy

Heartbreaking, but ultimately positive and powerful, the World Premiere of SHADES OF DISCLOSURE, reminds us of the effects of the HIV/AIDS epidemic that still continues to pose a host of social injustices such as homophobia, racism, immigration rights, healthcare discrimination, and the rights of transpersons.

Created and performed by the revolutionary QueerWise, a Los Angeles based group of LGBTQ writers and spoken word artists, Shades of Disclosure introduces us to a a number of HIV/AIDS survivors, and a few that were spared. Their deep and personal stories illuminate not only what they went through when the plague hit some thirty years earlier but how it still impacts their lives today.

The cast members on stage are not actors playing roles. They are real people sharing remembrances of heartbreak and loss, of good luck and bad. Some on stage were infected early while others, though promiscuous and care-free, escaped the epidemic.

Wrapped in an atmosphere of the current political climate, QueerWise tell their stories in well staged production that encourages others to do the same. “Who Are You?” they ask.

The outpouring of truthfulness on stage soon becomes contagious and one cannot help but feel a deep empathy.

Ultimately, we know that honesty about ones self is a beautiful, unifying and galvanizing force that we need to carry into 2017 if we are to survive, thrive, and maintain, says director, Michael Kearns.

Though it may sound like this performance piece is a downer, it is actually a celebration of being alive. Something we can all relate to.

Featuring Albert Auben, Gil Feroli, Cheri Gaulke, Randy (Joe) Gravelle, John Glenn Harding, Jessie Jacobson, Sophie Kim, Darrell Larson, Timothy Mack, Mason Mahoney, Jen O’Connor, Roland Palencia, Christine Papalexis, Jim Pentecost, Ken Pienkos and David Trudel, Shades of Disclosure plays at 8:00pm Saturdays, and 3:00pm on Sundays through February 25, 2017.

Skylight Theatre is located at 1816 1/2 N. Vermont Ave, LA, 90027.

Tickets are $15 – $40. Reservations: 213-761-7061 or online at http://SkylightTix.com

Rogue Machine Launches Season 10

Los Angeles, CA – (February 3, 2017)

Multi-award winning ROGUE MACHINE THEATRE (Best Production Award winner 2013, 2011 and 2010 – Los Angeles Drama Critics Circle, Ovation) is back for a new season in Los Angeles beginning March 4, 2017.

SEASON TEN main stage offerings will begin with the West Coast Premiere of Still Life directed by Michael Peretzian and opening at 8:30pm on March 4th. Broadway playwright and Academy Award winner Alexander Dinelaris (Birdman; On Your Feet) examines the causal link between life and death, ethics and success, art and redemption. How do we endure loss and re-find the will to make something of our lives? Performance will be at 8:30pm Saturdays and Mondays, 3pm on Sundays through April 23rd. Tickets are $40 at and can be reserved at http://www.roguemachinetheatre.com. For more information call 855-585-5185.

Founding Artistic Director of Rogue Machine, John Perrin Flynn

Lorraine Hansberry’s Les Blancs, directed by Gregg Daniels, will make its Los Angeles Premiere in late May. Hansberry considered this her most important play – This lost masterpiece had a celebrated revival by The National Theatre in 2016. A tale of exploding colonial tensions and lost fathers, Les Blancs reveals the impossible moral choices faced by individuals who must reconcile personal happiness with idealism. What happens when what we want and what we think is right is not what must be done?

Daytona by Oliver Cotton, directed by Elina DeSantos, opens late September r, an American Premiere. Witty and alternately haunting, Daytona is a love story about three people who find themselves in crisis when the long-buried past returns to disturb the fragile lives they have constructed to survive. How do we forgive ourselves, and others, while living with what we have done?

I’m Gonna Pray for You So Hard by Halley Feiffer, opens in late spring. This West Coast Premiere is a dark, exhilaratingly toxic and very funny, new play. It pulls the audience into the middle of a deeply complicated relationship and sheds a disturbing new light on the eternal struggles of parents and children to find common ground in a world where success and greed are the cultures touch points. Is it a winner-take-all world?

Bled for the Household Truth by Ruth Fowler, directed by Cameron Watson, will open in the Fall. A World Premiere, Fowler is a radical writer who first came to media attention after writing several articles for The Village Voice as “Mimi.” She chronicled her life as a stripper in Manhattan while attempting to obtain a work visa. Bled is a study of modern alienation, about how difficult it has become for young Americans to trust in a broken cynical world that both forces and promotes “Me first.” Will compassion no longer redeem us?
Rogue Machine is located at The Met, 1089 N Oxford Ave, Los Angeles, CA 90029. Reservations: 855-585-5185 or at http://www.roguemachinetheatre.com

Ticketing information will be announced shortly, and will be available by visiting http://www.roguemachinetheatre.com

 

2017 Academy Award Nominations Reavealed

Hollywood, CA: January 24, 2017

La La Land leads the 2017 Oscar nominations with a record tying 14 nods. Damien Chazelle’s love letter to classic Hollywood musicals  joins Titanic and All About Eve as one of the most nominated films of all time.

Some observations, surprises and disappointment:

Amy Adams was snubbed for both Nocturnal Animals and Arrival. Meryl Streep was recognized for Florence Foster Jenkins. Take that, Donald Trump.

What should have been Aaron Taylor-Johnson’s well deserved nomination for Nocturnal Animals went instead to his co-star, Michael Shannon, playing a grizzled sheriff in a small town solving a crime. Ironically, Jeff Bridges was recognized and more deserving for playing a very similar role in Hell Or High Water.

Happy to see the touching and beautiful Lion nominated, though Nicole Kidman did little in that film to earn her a best supporting actress nod. Disappointed that the Academy did not recognize Annette Benning’s fine work in Twentieth Century Women.

Pleased that young actor, Lucas Hedges was nominated for Manchester By The Sea.

The love for Hidden Figures is well deserved but the raves for Moonlight are hard to understand. Is it a result of the #OscarsSoWhite campaign of the last few years?

13th and I Am Not Your Negro are both moving and powerful films in the Best Documentary category. Both have to be seen.

Isabelle Huppert’s nomination as Best Actress in the lame, Elle makes little sense, and talking of making little sense, the off the wall, nonsensical and ridiculous, Toni Erdmann is on the list for Best Foreign Language film. That award has to go to Land of Mine, a powerful and moving film from Denmark that should not be missed.

The 2017 Oscars will take place on February 26 at the Dolby Theater in Los Angeles.

Read the 2017 nominations in full below.

Best Picture

  • Arrival
  • Fences
  • Hacksaw Ridge
  • Hell or High Water
  • Hidden Figures
  • La La Land
  • Lion
  • Manchester By The Sea
  • Moonlight

Best Director

  • Arrival (Denis Villeneuve)
  • Hacksaw Ridge (Mel Gibson)
  • La La Land (Damien Chazelle)
  • Manchester By The Sea (Kenneth Lonergan)
  • Moonlight (Barry Jenkins)

Best Actor In A Leading Role

  • Casey Affleck (Manchester By The Sea)
  • Andrew Garfield (Hacksaw Ridge)
  • Ryan Gosling (La La Land)
  • Viggo Mortensen (Captain Fantastic)
  • Denzel Washington (Fences)

Best Actress In A Leading Role

  • Isabelle Huppert (Elle)
  • Ruth Negga (Loving)
  • Natalie Portman (Jackie)
  • Emma Stone (La La Land)
  • Meryl Streep (Florence Foster Jenkins)

Best Actor In A Supporting Role

  • Mahershala Ali (Moonlight)
  • Jeff Bridges (Hell or High Water)
  • Lucas Hedges (Manchester By The Sea)
  • Dev Patel (Lion)
  • Michael Shannon (Nocturnal Animals)

Best Actress In A Supporting Role

  • Viola Davis (Fences)
  • Naomie Harris (Moonlight)
  • Nicole Kidman (Lion)
  • Octavia Spencer (Hidden Figures)
  • Michelle Williams (Manchester By The Sea)

Best Original Screenplay

  • Hell or High Water (Taylor Sheridan)
  • La La Land (Damien Chazelle)
  • The Lobster (Yorgos Lanthimos, Efthymis Filippou)
  • Manchester By The Sea (Kenneth Lonergan)
  • 20th Century Women (Mike Mills)

Best Adapted Screenplay

  • Arrival (Eric Heisserer)
  • Fences (August Wilson)
  • Hidden Figures (Allison Schroeder, Theodore Melfi)
  • Lion (Luke Davies)
  • Moonlight (Barry Jenkins)

Best Cinematography

  • Arrival
  • La La Land
  • Lion
  • Moonlight
  • Silence

Best Original Score

  • Jackie
  • La La Land
  • Lion
  • Moonlight
  • Passengers

Best Animated Feature

  • Kubo and the Two Strings
  • Moana
  • My Life As A Zucchini
  • The Red Turtle
  • Zootopia

Best Film Editing

  • Arrival
  • Hacksaw Ridge
  • Hell or High Water
  • La La Land
  • Moonlight

Best Original Song

  • ‘Audition (The Fools Who Dream)’ (La La Land)
  • ‘Can’t Stop The Feeling’ (Trolls)
  • ‘City Of Stars’ (La La Land)
  • ‘The Empty Chair’ (Jim: The James Foley Story)
  • ‘How Far I’ll Go’ (Moana)

Best Documentary Feature

  • Fire At Sea
  • I Am Not Your Negro
  • Life, Animated
  • OJ: Made in America
  • 13th

Best Documentary Short

  • Extremis
  • 4.1 Miles
  • Joe’s Violin
  • Watani: My Homeland
  • The White Helmets

Best Foreign Language Film

  • Land Of Mine
  • A Man Called Ove
  • The Salesman
  • Tanna
  • Toni Erdmann

Best Live Action Short

  • Ennemis Interieurs
  • La Femme et le TGV
  • Silent Nights
  • Sing
  • Timecode

Best Animated Short Film

  • Blind Vaysha
  • Borrowed Time
  • Pear Cider and Cigarettes
  • Pearl
  • Piper

Best Sound Editing

  • Arrival
  • Deepwater Horizon
  • Hacksaw Ridge
  • La La Land
  • Sully

Best Sound Mixing

  • Arrival
  • Hacksaw Ridge
  • La La Land
  • Rogue One: A Star Wars Story
  • 13 Hours: The Secret Soldiers of Benghazi

Best Production Design

  • Arrival
  • Fantastic Beasts and Where to Find Them
  • Hail Caesar
  • La La Land
  • Passengers

Best Visual Effects

  • Deepwater Horizon
  • Doctor Strange
  • The Jungle Book
  • Kubo and the Two Strings
  • Rogue One: A Star Wars Story

Best Costume Design

  • Allied
  • Fantastic Beasts and Where to Find Them
  • Florence Foster Jenkins
  • Jackie
  • La La Land

Best Makeup and Hair Design

  • A Man Called Ove
  • Star Trek Beyond
  • Suicide Squad