movie

Film Review: KONG: SKULL ISLAND (USA 2017) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

kong_skull_island.jpgDirector: Jordan Vogt-Roberts
Writers: Dan Gilroy (screenplay), Max Borenstein (screenplay)
Stars: Tom Hiddleston, Samuel L. Jackson, Brie Larson

Review by Gilbert Seah

 There have been already too many films on King Kong. The first and most memorable one for me was the 1962 campy Japanese version entitled KONG KONG VS. GODZILLA where audiences were treated to the climatic fight between the two monsters executed by actors in monster suits. The KING KONG films have been improved in terms of special effects. Even Peter Jackson had a go at it in the horrid 2005 version with an overlong attack by Kong on NYC. This latest edition is a reboot with two writers Dan Gilroy and Max Borenstein and a new director Vogt-Roberts whose only other film is an indie called THE KINGS OF SUMMER. But this new version takes a bit from each of the previous King Kong films, in fact the best from them, resulting in a satisfactory adventure film filled with special effects, action and much more humour.

The film begins very oddly in the year 1944 when a Japanese and American pilot are both shot down on Skull Island in the South Pacific (hints of HELL IN THE PACIFIC), They fight each other, only to be interrupted by the appearance of the giant Kong. Flash forward to 1973

when former British Special Air Service Captain James Conrad (Tom Hiddleston) is hired by government agent Bill Randa (John Goodman) to guide an expedition to map out an uncharted island in the Pacific Ocean known as “Skull Island”. Randa also recruits the Sky Devils helicopter squadron led by Lieutenant Colonel Preston Packard (Samuel L. Jackson) to escort them to the island, and the group is later joined by pacifist photojournalist Mason Weaver (Brie Larson), who believes the scientific expedition to be a cover for an illegal military operation and plans to expose it. There, they find Kong as well as the American pilot, Marlow (John C. Reilly) now older, having lived there for 28 years.

The island is also the home of other giant creatures, the most fearsome being the Skullcrawlers, the biggest one of which battles Kong at the film’s climax, similar to the fight between King Kong and Godzilla. The other action segments involve the characters battling other monsters including a spider, ants and flying pterodactyl-like birds. The characters are trying to get to the north of the island in order to be rescued.

The Conrad and Mason characters form the boring romantic couple of the story. Fortunately, Vogt-Roberts treats their romance as slight. The more interesting characters are Packard portrayed by Samuel L. Jackson, obsessed by his aim to kill Kong. There has hardly been a single film in which Jackson has not uttered the words mother f***er. So wait for this special scene. Reilly also steals the show as the comical Marlow who saves Kong.

The new take on the King Kong story actually works. At least the audience is spared from Kong being brought back to American to climb the Empire State building. But Kong still has the ‘hots’ for Brie Larson.

But most important is to stay till after the end credits. In the comical post-credits scene that primes the audience for a sequel, Conrad and Weaver are detained by Monarch and informed that Kong is not the only monster to roam the world. They are then shown archive footage of cave paintings depicting Godzilla, Mothra, Rodan, and King Ghidorah.

Trailer: https://www.youtube.com/watch?v=AP0-9FBs2Rs

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Film Review: WINDOW HORSES (Canada 2016) ***1/2

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

window_horses.jpgDirector: Ann Marie Fleming
Writers: Ann Marie Fleming (screenplay), Maryam Najafi (Cultural Script Consultant)
Stars: Shohreh Aghdashloo, Ellen Page, Sandra Oh

Review by Gilbert Seah

WINDOW HORSES is an animated film about poetry. And one about a protagonist travelling to a poetry conference in the city of Shiraz in Iran. The subject would be enough to scare away audiences. But one of the best films last year was about a bus driver poet entitled PATERSON with Adam Driver, a tremendously moving film. So WINDOW HORSES, another film about poets, is a film that should be given a chance – for it is in its own terms, an equally awesome film – original, cute and with eye-catching animation.

I met writer/director Ann Marie Fleming last year at the Toronto International Film Festival. Humble, quiet and shy, I had heard that she had a film playing called WINDOW HORSES. I was dead curious what her animated movie would be like, after a fellow critic praised her film. Fleming is of mixed race, like her film’s protagonist.

The film begins with a horse observed through a window. The person at the window is young 20-something poet wannabe Rosie Ming (voice of Emmy Winner Sandra Oh) of mixed Chinese/Persian parents) who lives with her loving grandparents (drawn to look especially Chinese) in Vancouver, Canada. Rose publishes her own poems in book called “My Eye Full” by a poet who has never been to Paris.

One thing that stands out about WINDOW HORSES is its charm. The charm is ever present from the film’s characters to the stories right down to the details in the animation. The film is inherently funny with keen observations to family relationships, growing-up, the artistic scene and a whole lot of other issues.

Sandra Oh, who serves as the film’s executive producer lends her talent as the voice (immediately recognizable) of Rosie. Oh has been friends with Fleming for over 20 years and she agreed to do the voice despite her very busy schedule. Besides Oh, the film is filled with other talents such as other Canadian actors Don McKellar (as the German poet) and Ellen Page as Rosie’s funny chatty friend. But the best is old veteran actress, Nancy Kwan (of the Roger and Hammerstein’s FLOWER DRUM SONG and LOVE IS A MANY SPLENDORED THING) as the voice of Rosie’s grandmother.

Fleming’s animation is not super stupendous, but it is colourful (her favourite colour appears to be pink), original, eye-catching and different. While her characters are etched with proper limbs, she give Rosie stick arms and legs. She even pokes fun at her own animation with a watch she wears dangling from her (stick) wrist.

Fleming’s film is also deep in its subject matter. Fleming knows her material and it is clear form her film that she has done sufficient research on Iran and on her poetry. One wonders if the story of her protagonist is biographical.

WINDOW HORSES is a celebration of different cultures, of art, tolerance and the wonders of life. Fleming is clearly an important emerging talent in cinema.

Trailer: https://vimeo.com/155891239

_________

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Film Review: SHADOW GIRL (Canada/Chile 2016)

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

shadow_girl.jpgDirector: Maria Teresa Larrain
Stars: Maria Teresa Larrain, Cristian Larraín Navarro, Celia Navarro de Larraín

Review by Gilbert Seah

 In the words of writer/director Maria Teresa Larrain: “It is one thing to live in a fog, and another to live in darkness.” Maria Teresa Larraín had inherited her mother’s ailment of progressive myopia. She was told this when she was little when she visited the doctor with her mother. Maria did not know the meaning of progressive nor of the word myopia. Maria asks her mother: “When will we be blind?” Her answer: “We will never be blind!” As she slowly loses her sight, she sees things in shadows but fears when the fog turns into darkness.

These be very strong words. The first 10 minutes of SHADOW GIRL gears the audience to expect a very powerful film – with an important lesson that can only be taught be a person going blind. Unfortunately, what follows cannot match the set-up. Still, SHADOW GIRL is an honest testimony of a person struggling with blindness. Maria was born in Chile with her family dotted around the globe in Chile and Costa Rica and Canada. Ironically, Maria is in the business of creating images so as she says, SHADOW GIRL will be her last film and one that she might not be able to see.

The film is Maria’s personal chronicle of discovery inspired by the loss of her sight, and a memorable depiction of a world beyond our eyes. Larrain is unafraid to display her lonely depression, as she began to lose her sight while editing her last film in Toronto . She decides to rejoin society with the death of her mother in her native Chile. The prodigal daughter returns to Santiago after 30 years away and discovers a society of blind street vendors of La Alameda.

The encounter with this spirited, kindred community forms a major part of the film as it teaches her to overcome her difficult journey.

Maria was denied Canadian disability payments because she had worked while going blind. She filed an appeal. The decision of the Canadian government on her disability benefits form the climax of the film.

The most moving segment of SHADOW GIRL is obviously not whether she had been granted these payments – even though the voiceover stresses its importance. (I only have $5 in my bank account.) It is the film’s formulation of the images – blurry to simulate what Maria sees in her vision. As she traces the regaining of the recognition of colours after her cataract operation, the audience sees how important even a very slight sight is to her and to every person.

SHADOW GIRL has won numerous awards, because of its candid look on the subject of blindness. Among these are:

– Best Documentary of 2016 by the Circle of Chilean Critics
– Best National Film, Audience Award, Documentary of the Month Award and Hackathon Award at DocsBarcelona Valparaiso,
Best National Film, Best Directing and Best Sound Award at DIVA (Diversity International Film Festival

Director Larrain will be present for a question and answer session during a special presentation of the film on March the 12th at the Revue Cinema and hopefully after for a limited release. The film will also be aired a a later date on the CBC documentary Channel, and also on the Accessible Channel at the end of the year.

Trailer: https://www.youtube.com/watch?v=ybNqwewnFoA

_________

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Film Review: FOUR DAY WEEKEND, 20min, USA, Romance/Drama

festreviews 2017 movies, Kierston Drier, movie, Movie Review, Short Film Movie Review, Uncategorized , , , , ,

Played at the February 2017 ROMANCE Film Festival

MOVIE POSTERFOUR DAY WEEKEND, 20min, USA, Romance/Drama
Directed by Nicole Jones

A middle-aged couple, married for twenty-three years, takes a four-day break from each other and the aftermath leaves their relationship shaken and tested but not broken.

Review by Kierston Drier

 Rich and deeply compelling, Four Day Weekend an American film from director Nicole Jones, is one woman’s recount of her journey through her 23 year marriage to her husband, through the lense of a four day weekend where they both have permission to seek extra-marital dalliances.

She, having been sexually adventurous in her youth, proposes the nourishes the idea in an attempt to give her husband a chance to explore his adventurous side. He, on the other hand, grapples with his feelings about this newly offered freedom.

This is a film that hits that magical sweet spot in the short film world- hitting every note perfectly. Emotionally compelling, heartbreaking honest, charmingly funny, expertly acted and brilliant composed, this piece still manages to be greater than the sum of its’ parts. Perhaps this is because, not only is it a well made film, but it tackles a unique subject matter with both sensitivity and sincerity.

Many love stories, address young love, or old and enduring love. Four Day Weekend tackles love right in the middle- a mature and well developed marriage of equals facing all the nerve-wracking insecurity that comes with trying anything new for the first time. Yet, despite the subject matter of infidelity, this is a piece that really does centre around love. The love of these two people in their marriage is unmistakingly clear. The lengths they are willing to go to make each other happy is a true testament to that.

A strong and powerfully made film, Four Day Weekend will engage you mentally, emotionally and philosophically, while still reminding you that love will always know no bounds. Bravo Nicole Jones, Bravo.

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Film Review: SUNDAY AFTER, 3min. Canada, Romance/Experimental

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Played at the February 2017 ROMANCE Film Festival

MOVIE POSTERSUNDAY AFTER, 3min. Canada, Romance/Experimental
Directed by Nathalie Cusson

What to do on a Sunday afternoon? There are many ways to spend spare time; The one depicted in this short film might be among the best options.

Review by Kierston Drier

 A silky smooth symbolic look at sensual visual stimulation, Sunday Afternoon is a delight for the senses. A Canadian experimental film directed by Nathalie Cusson, this piece is a three minute dive into erotic visual metaphor.

Set against hypnotic music, soft, velvety images and alluringly entrancing close ups of feathers, silk sheets and pearly droplets of water, Sunday Afternoon will have you tingling all over and unsure as to why.

As a three minute experimental film, this piece leaves itself open to interpretation, and yet it remains unmistakably clear. We may not be sure what we are looking at as the audience but we certainly know it’s sexy. It is the testament to good filmmaking, that a metaphor can be so clear and appealing, and remain utterly innocent of overt references.

Tantalizing while remaining obscure, Sunday Afternoon is a delight for the senses, and may very well give you some ideas for how you might want to spend your next long weekend.

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Film Review: CHARITY CASE, 3min, UK, Romance/Comedy

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Played at the February 2017 ROMANCE Film Festival

CHARITY CASE, 3min, UK, Romance/Comedy
Directed by Sam Tibi

A young man’s attempt to show a beautiful girl his charitable nature backfires…

Review by Kierston Drier

 This delightfully fresh and comic look at chivalry gone awry, Charity Case comes to us from the UK by director Sam Tibi. In this simple, short and hilarious tale, our male hero tries to impress a beautiful woman at a cafe by tipping the barista. His plan backfires when, trying and failing to get her attention, he gives too much in the jar and runs short for his coffee. While the barista’s back is turned, our hero attempts to get his coins back- an ill fated idea indeed.

A short, humorous film that makes us question- is generosity still generosity if the gesture is done for self-gain? Is there such a thing as true altruism? It should be noted how expertly this film is able to get it’s emotional point across. In under three minutes, and with only one set, three characters and minimal dialogue, we know exactly who everyone is, and exactly what their motives are.

A simple and inviting slice of life with a keen moral- that honesty really is the best policy when it comes to meeting the girl of your dreams, or tipping the barista.

 

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Film Review: MY SCIENTOLOGY MOVIE (UK)

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

myscientologymovieDirected by Joh Dower

Review by Gilbert Seah

As the title implies, MY SCIENTOLOGY MOVIE is a cheaply made kind of tacky documentary on the subject of Scientology.

The film is written by and stars Brit. Louis Theroux, who is in almost every frame. It is kind of odd to see a Brit making an American documentary and is is comical to see how he infuriates many of his subjects – even those working with him. (Theroux raises questions about Rathbun’s, (a former Scientology senior member) own complicity in the church’s “terroristic” activities, leading to tensions between the two men.) Theroux had long sought to make a documentary about the Church of Scientology from the inside but was repeatedly refused by church officials. In 2011 his producer, Simon Chinn, suggested making a 90-minute feature about Scientology. Together with director John Dower, they looked for ways to make a documentary, without access to its subjects. To be different form other documentaries, they used the idea of “negative access”, illustrating the church by provoking a reaction from it.

In this documentary, the audience sees Theroux teaming up with former senior church official Mark Rathburn (called ‘Matty”) to create dramatic reconstructions of incidents within the church witnessed by Rathbun and other ex-Scientologists. They focus in particular on alleged violent behaviour by the church’s leader David Miscavige at its secretive Gold Base facility in California, which Theroux visits. They interview several actor to play the part of both Tom Cruise and Miscavige in order to react certain scenes. The actors doing the parts and coming for auditions bare an uncanny resemblance to the real people. The church retaliates by putting Theroux and his film crew under surveillance, leading to camera-wielding confrontations with a Scientology “squirrel buster” team and with church officials outside Gold Base.

A few of the re-enactments – such as the abuse by Miscavide towards his senior staff are shown. Theroux and Matty are shown in the background nodding in approval. But the entire doc that they made is never really shown but only bits and pieces of what they did, as well as them filming themselves and hastily assembled into this movie. All this looks like a bad patch up with no head or tail.

It is courageous to see the filmmakers to take a different approach to their Scientology doc but nothing is achieved that the audience has not see before. Alex Gibney had made the much better GOING CLEAR – SCIENTOLOGY AND THE PRISON OF BELIEF where Gibney circled the movement right from its beginnings, seeking to analyze its methods and impugn its motives. Gibney had footage of the real Tom Cruise and John Travolta. MY SCIENTOLOGY MOVIE, in contrast had to rely for on only one man, Matty all their information.
MY SCIENTOLOGY MOVIE turns out as annoying as Theroux its star. If one wants to know about Scientology, it is best to rent the Alex Gibney GOING CLEAR video. MY SCIENTOLOGY MOVIE just goes nowhere and gets there pretty fast.

Trailer: https://www.youtube.com/watch?v=s-9qUjE40wM

 

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Film Review: MR. GAGA (Israel/Sweden/Germany/Netherlands 2015) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

mrgaga.jpgDirected by Tomer Heymann

Review by Gilbert Seah

Timing is everything. MR. GAGA documentary about bad boy dance choreographer, Ohad Naharin is being released just a few weeks (though made earlier) after a similar documentary about another bad boy dance choreographer. The first doc called DANCER follows the troubled life of now 37-year old Sergei Polunin, acclaimed as ‘the most naturally gifted male ballet dancer of his generation’. Both films follow the same outline. They trace the influences (Ohad, dancing when young as a boy in the kibbutz) and childhood of the dancers, their troubles (marriage and choreograph methods), there talent and their rise to fame together with lots of footage of dance performances. Hopefully, MR. GAGA can still attract audiences after they have seen DANCER.

Ohad Naharin is the Israeli choreographer who’s revolutionized modern dance, even although he himself didn’t begin formal dance training until age 22. Now in his mid-60s, Naharin has headed up Tel Aviv’s famed Batsheva Dance Group since 1990, creating pieces and training dancers with “gaga” – a dance language he invented, whereby dancers feel the sensation of movement. In 1998, Naharin rebelled against censorship when he withdrew Batsheva from Israel’s 50th anniversary gala after organizers – bowing to pressure from religious groups – insisted he clothe his dancers more modestly.

The dance performances are well tracked and form the most interesting segment of the film – even f one is not an avid dance fan. Excerpts include:
2013 – The Hole
2015 – The Last Word
2003 – Mqnootoot
2011 – Sadeh (three times)
2005 – Three, the most homo-erotic, in that order.

The performances are put into perspective of the dance’s life, making them more relevant in the film.

As expected, the best insight into Ohad’s personality is provided by the dancers under his charge. They claim him to be ‘so strong’ and ‘so intense’. His intimidation can be seen when he tells them during their performances not to f*** it up, as it is his life. He would use words like: “Don’t f*** with me,” and “You are boring me”. These only goes to show that talent can never be substituted for hostility not matter how talented the antagonist is. There is no interview with his wife. It would have been even more interesting to know what living hell living with this man might have been. Director Heymann allows Ohad to have his say as well. Ohad claims that he is able to get the most of of his dancers. A former dancer recalls that everyday someone would leave the studio either yelling or crying.
Judging from most of his choreography, Ohad has a lot of aggression in him. His moves are fierce and hard and often include movements like falling and hammering. As expected, the genius and spoilt boy behaviour is incorporated in the same one person – in Ohad.

But Heymann keeps the audience on track with Ohad’s likability. If the audience hates the subject, it usually follows them hating the film. When the Government forces Ohad’s dance to wear leotards instead of their original skimpy outfits, he announces the change of costume to his dance troupe and subsequently resigns. This causes massive protests in the country. His wife and true love also dies of cancer and Heymann shows the power of dance to heal through Ohad,

The film is shot in English and Hebrew.

Trailer: https://vimeo.com/139907441

_________

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Film Review: TABLE 19 (USA 2016)

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table_19.jpgDirector: Jeffrey Blitz
Writers: Jay Duplass (screenplay), Mark Duplass (screenplay)
Stars: Anna Kendrick, Lisa Kudrow, Craig Robinson

Review by Gilbert Seah

TABLE 19 is the low-budget small comedy typical of director Jeffrey Blitz and writer Jay and Mark Duplass. Blitz directed THE OFFICE episodes, the feature BOTTLE ROCKET and the documentary on the spelling bee SPELLBOUND. The Duplass brothers are famous for THE PUFFY CHAIR, JEFF, WHO NOW LIVES AT HOME and BAGHEAD. All these films are not masterpieces but sweet little films that are entertaining enough.

The protagonist of the new Duplass/Blitz film is Eloise McGarry (Anna Kendrick, MR. RIGHT, UP IN THE AIR the PITCH PERECT movies). Eloise has just been dumped by her boyfriend, Teddy (Wyatt Russell) who is the brother and best man of the wedding. Eliose does not want to attend but does. She ends up at TABLE 19, the wedding ‘table of losers’. There are 6 at a table. The others at TABLE 5 are:
Walter Thimple, just out of prison (Stephen Merchant)
Bina Kepp, unhappy wife out for a affair (Lisa Kudrow)
Jerry Kepp, her unhappy husband (Craig Robinson)
nanny of the family, Jo Flanagan (Judy Squib) and
Rezno Eckberg (Tony Revolorif from THE GRAND BUDAPEST HOTEL)

Half way through the film, it suddenly dawns that this film is not that funny. The jokes are mild at most, often a few off-coloured ones (to distinguish the film from a TV movie) with a few scenes with drug use. But TABLE 19 turns out to be a serious comedy.

Nothing is what it seems! Eloise also meets and sort of falls in love with a wedding crasher, a handsome guy called, Huck (Thomas Cocquerel) but again, Huck is not who he seems to be as revealed in the manipulative script.
Anna Kendrick is charming and helpless enough in her leading role. Oscar nominee Judy Squib plays the know-it-all ex-nanny but the most laughs come from Stephen Merchant.

The script turns each character of the table to be actually very nice people – even the ex-con had good intentions for embezzling the money. The big ‘turn’ happens during the confrontation between Eloise and Teddy. Teddy is somewhat sweet and hapless. But the problem is the script being too manipulative and eager to please.

The script centres on the TABLE 19 guests. As Eloise actually planned the seating arrangement of the wedding, there is a scene where she describes each table from Table 1 to Table 19 from the singles table to the parents table and so on.

Fortunately, the script does not distract with the other guests. The appropriately lively bride and bridegroom are given just enough screen time to keep the subject of wedding on track.

TABLE 19 should please the less demanding audience. At the promo screening, I could overhear the comments of the audience. Most enjoyed the film, with adjectives like ‘sweet’, ‘romantic’ and ‘funny’. But the script should have been less manipulative and predicable. TABLE 19 turns out too sugary sweet for my liking and my guess for the liking of most critics.

Trailer: https://www.youtube.com/watch?v=SRVzyiM8Sgo
_________

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The 89TH OSCARS 2017 – Review

festreviews 2017 movies, movie, Movie Review, Uncategorized

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

2017oscars.jpgby Gilbert Seah

This year, the most unbelievable mistake was the announcement of the year’s BEST PICTURE.  Warren Beatty announced LA LA LAND instead of MOONLIGHT.  A mistake that will be remembered FOREVER!

MOONLIGHT is the BEST PICTURE.  NOT LA LA LAND!

The Red Carpet that began an hour or so before the actual ceremonies is the normal show of glamour – designer gowns (Valentino’s red gown worn by Ruth Negga, Armani’s white one worn by Isabelle Huppert, just to name 2 of the best), make-up, hair. etc.  One big difference this year is the spotlight on mothers.  A lot of celebrities brought their ‘mom’s as their guests, among them, Matt Damon, Dev Patel, Russell Brand, Leonardo DiCaprio and Bradley Cooper.

The Golden Globes had Jimmy Fallon as host.  The Oscars have Jimmy Kimmel.  Which talk show hosts did the better job?  Your judgement, not mine.  Kimmel has 14 years of experience hosting Jimmy Kimmel Live! in addition to hosting the Emmy Awards in 2016 and also the American Music Awards.

Kimmel performs a funny enough 10-minute comic opening poking fun at among others, Mel Gibson, Matt Damon including and yes, Donald Trump.  The best joke was the the undeserved round of applause given for Meryl Streep, the most under-rated actress in Hollywood.  A close second was the joke on Hollywood doing white people jazz and black people NASA.  

Political statements?  Last year’s host Chris Rock criticized diversity and this year saw, as a result, a record number of African American films nominated that included MOONLIGHT, FENCES, HIDDEN FIGURES, I AM NOT YOUR NEGRO and LOVING with an African American nominated in each of all 4 acting categories.  This year, the statement was made by the director of the Best Foreign Film THE SALESMAN, Asghar Farhadi who refused to attend the ceremonies because of Trump’s travel ban.  This was his second win after UNE SEPARATION.

The best speech is arguably from Viola Davis, the sure shoo-in for the win for FENCES.  She likely prepared and rehearsed her speech before the win, many times.  She cried and made the audience cry as well for her moving speech about the glory of acting.

The Golden Globes have the advantage of being first.   The Golden Globes and Fallon did an excellent opening musical number with him singing and stuck in his car en route to the Golden Globes as in the musical highway number in LA LA LAND.  This one cannot be topped by any thing done in the Oscar ceremonies.   Justin Timberlake tries hard with his opening song and dance number from the animated TROLLS. 

As usual, the most sombre part of the evening is the obituaries segment.  This year saw the passing on of a high number of talent, too many to mention – among them, Debbie Reynolds, Prince, Bill Paxton, John Hurt, Carrie Fisher, Gene Wilder and Anton Yelchin.

But this year’s Oscar controversy might not be over yet.  Trump might still ‘tweet’ in.

Hands down, the best and most hilarious presenters were John Cho and Leslie Mann.

Below is the complete list of nominees.  In bold are the ones the Oscar went to, and the underlined are the ones in my opinion, should have gone to.  (The word ‘winner’ is a no-no during the Oscars).

BEST PICTURE

Arrival

Fences

Hacksaw Ridge

Hell or High Water

Hidden Figures

La La Land

Lion

Manchester by the Sea

Moonlight

=============================

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

=============================

ACTRESS IN A LEADING ROLE

Isabelle Huppert, Elle

Ruth Negga, Loving

Natalie Portman, Jackie

Emma Stone, La La Land

Meryl Streep, Florence Foster Jenkins

=============================

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

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ACTRESS IN A SUPPORTING ROLE

Viola Davis, Fences

Naomie Harris, Moonlight

Nicole Kidman, Lion

Octavia Spencer, Hidden Figures

Michelle Williams, Manchester by the Sea

=============================

ANIMATED FEATURE FILM

Kubo and the Two Strings

Moana

My Life as a Zucchini

The Red Turtle

Zootopia

=============================

CINEMATOGRAPHY

Arrival

La La Land

Lion

Moonlight

Silence

=============================

COSTUME DESIGN

Allied

Fantastic Beasts and Where to Find Them

Florence Foster Jenkins

Jackie

La La Land

=============================

DIRECTING

Arrival

Hacksaw Ridge

La La Land

Manchester by the Sea

Moonlight

=============================

DOCUMENTARY (FEATURE)

Fire at Sea

I Am Not Your Negro

Life, Animated

O.J.: Made in America

13th

=============================

DOCUMENTARY (SHORT SUBJECT)

Extremis

4.1 Miles

Joe’s Violin

Watani: My Homeland

The White Helmets

=============================

FILM EDITING

Arrival

Hacksaw Ridge

Hell or High Water

La La Land

Moonlight

=============================

FOREIGN LANGUAGE FILM

Land of Mine

A Man Called Ove

The Salesman

Tanna

Toni Erdmann

=============================

MAKEUP AND HAIRSTYLING

A Man Called Ove

Star Trek Beyond

Suicide Squad

=============================

MUSIC (ORIGINAL SCORE)

Jackie

La La Land

Lion

MoonlightPassengers

=============================

MUSIC (ORIGINAL SONG)

“Audition (The Fools Who Dream)” from La La Land

Music by Justin Hurwitz; Lyric by Benj Pasek and Justin Paul

“Can’t Stop The Feeling” from Trolls

Music and Lyric by Justin Timberlake, Max Martin and Karl Johan Schuster

“City Of Stars” from La La Land

Music by Justin Hurwitz; Lyric by Benj Pasek and Justin Paul

“The Empty Chair” from Jim: The James Foley Story

Music and Lyric by J. Ralph and Sting

“How Far I’ll Go” from Moana

Music and Lyric by Lin-Manuel Miranda

=============================

PRODUCTION DESIGN

Arrival

Fantastic Beasts and Where to Find Them

Hail, Caesar!

La La Land

Passengers

=============================

SHORT FILM (ANIMATED)

Blind Vaysha

Borrowed Time

Pear Cider and Cigarettes

Pearl

Piper

=============================

SHORT FILM (LIVE ACTION)

Ennemis Intérieurs

La Femme et le TGV

Silent Nights

Sing

Timecode

=============================

SOUND EDITING

Arrival

Deepwater Horizon

Hacksaw Ridge

La La Land

Sully

=============================

SOUND MIXING

Arrival

Hacksaw Ridge

La La Land

Rogue One: A Star Wars Story

13 Hours: The Secret Soldiers of Benghazi

=============================

VISUAL EFFECTS

Deepwater Horizon

Doctor Strange

The Jungle Book

Kubo and the Two Strings

Rogue One: A Star Wars Story

=============================

WRITING (ADAPTED SCREENPLAY)

Arrival

Fences

Hidden Figures

Lion

Moonlight

=============================

WRITING (ORIGINAL SCREENPLAY)

Hell or High Water

La La Land

The Lobster

Manchester by the Sea

20th Century Women

_________

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com