— Joker Movie (@jokermovie) January 13, 2020
During an awards season with no clear prime-runner, “Joker” finally catapulted to the first Monday morning. Director Todd Phillips, wicked origin story, bagged 11 Oscar nominations, including best picture and best director for Todd Phillips. At the same time, “Once Upon a Time in Hollywood,” “The Irishman,” and “1917,” each scored ten nods.
The 92nd Annual Academy Awards airing February 9, won’t have a host for the second time in a row but will have a lot of excitement with a stacked best-picture race.
“Joker” will compete against Martin Scorsese’s gangster epic “Irishman, Quentin Tarantino’s 1969-set L.A. fantasy “Once Upon a Time,” Noah Baumbach’s divorce drama “Marriage Story,” Bong Joon-ho’s black comedy “Parasite,” Sam Mendes’ World War I thriller “1917”, Greta Gerwig’s coming-of-age adaptation “Little Women,” Taika Waititi’s World War II satire “Jojo Rabbit,” and retro racing drama “Ford v Ferrari.”
The lead actor Oscar nominations went to Adam Driver, for his portrayal of the depressed husband in “Marriage Story”; Joaquin Phoenix, for his mentally ill outcast in “Joker”; and Leonardo DiCaprio, who played a washed-up actor in “Once Upon a Time … in Hollywood.”
Antonio Banderas was also involved, with Oscar voters admiring his performance as a depressed Spanish filmmaker in Pedro Almodovar little-seen “Pain and Glory.” Jonathan Pryce (“The Two Popes”) rounded out the category.
For the second year in continuation, there were no women nominated in the best director type: Nominees included Quentin Tarantino, Martin Scorsese, Bong Joon-ho, Todd Philips, and Sam Mendes, with the notable snub of Gerwig.
Black actors and actresses were highly overlooked, with the British-Nigerian actress Cynthia Erivo (“Harriet”) as the sole nominee. The Academy of Motion Picture Arts and Sciences has put an effort to double female and minority membership, in massive part by inviting in more film professionals from overseas.
But even after four years, the organization remains 68 percent male and 84 percent white. The director’s bough again overlooked women, bypassing acclaimed work from Greta Gerwig (Little Women), Lulu Wang (The Farewell), and others.
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