Oscar Nominations 2018: #MeToo, Not So White, and Wonder Women (Except One or Two)

The Academy of Motion Picture Arts and Sciences (with assistance from actor Andy Serkis and comedienne Tiffany Haddish) announced its annual list of nominated films, directors, actors, technicians, and so forth yesterday morning. Similar to recent years, many worried if those voting would leave out people of color in lead acting categories. The same went for this year's worry over any potential lack of female directors, as well as actors who have allegedly been charged with sexual misconduct. Well, supporters of the #MeToo movement and critics of the #OscarsSoWhite campaigns can rest assured, as this year's Oscars prove to be some of the most diverse, perhaps even more than last year.

First things first. The film with the most nominations goes to Guillermo del Toro's period-fantasy The Shape of Water, including a Best Picture nod--a rarity for the fantasy genre, considering the last film to be nominated--and win--was The Lord of the Rings: The Return of the King in 2004. The Mexican filmmaker picked up nominations for directing, co-writing, and co-producing the film (some have theorized that he may form a trifecta with his fellow Mexican filmmakers and friends Alfonso Cauron and Alejandro J. Innaritu, directors who have previously won golden statues), while the film's stars Sally Hawkins, Octavia Spencer, and Richard Jenkins picked up acting accolades, and almost every technical category was filled by the Cold War-set underwater tale. (Read my review of the film here for a more in-depth and discerning perspective.)

Meanwhile, World War II epics Dunkirk and Darkest Hour picked up several technical nods, including Best Picture for each, director Christopher Nolan for the former, and actor Gary Oldman (a high contender) for the latter. And speaking of technical awards, the critically-praised sequel Blade Runner 2049 was congratulated (many fingers are crossed for Roger Deakins' unforgettable cinematography), as was the musical-chase hit Baby Driver (which got three nods).

Guillermo del Toro, Sally Hawkins and Doug Jones
on the set of The Shape of Water

The black (and rage-filled) comedy-drama Three Billboards Outside Ebbing, Missouri, collected six nominations, including its performances from Frances McDormand, Sam Rockwell, and (surprise) Woody Harrelson.

Other nominations that weren't so surprising were Saoirse Ronan and Laurie Metcalf for Lady Bird, Allison Janney for I, Tonya, Willem Dafoe for The Florida Project, Kumail Nanjiana & Emily V. Gordan's script for The Big Sick, Pixar's Coco for Best Animated Feature, Daniel Day-Lewis's performance in Paul Thomas Anderson's Phantom Thread (reportedly the actor's last), and Meryl Streep's performance as Katherine Graham in the free-press drama The Post (also nominated for Best Picture). That film's director Steven Spielberg, co-star Tom Hanks, and screenwriters Josh Singer & Liz Hannah were left out of the race, however.

Speaking of Phantom Thread, the film received other surprising nominations, like Best Supporting Actress for Lesley Manville (who plays Day-Lewis's sister) and directing for Anderson (his first since There Will Be Blood ten years ago).

Mudbound, the 1940s-set slavery tale from director Dee Rees, became the first Netflix film to be honored by the Academy, collecting nods for its adapted screenplay (by Rees and Virgil WIlliams), cinematography (Rachel Morrison became the first nominated female cinematographer in the awards' history), and actress Mary J. Blige (who co-wrote the nominated song in the film as well).

Kevin Spacey (left) was replaced by Christopher Plummer (right)
during an unprecedented post production for All the Money in the World

James Franco's fully-committed performance as Tommy Wiseau in The Disaster Artist was left out, potentially due to recent misconduct allegations against the actor, following his Golden Globe win this month. (The film did get recognized for its adapted screenplay, though.) Speaking of allegations, 88-year-old Christopher Plummer was recognized for his supporting role as J. Paul Getty in All the Money in the World, a role that was originally completed with Kevin Spacey, but was replaced by Plummer in a one-month post-production period due to allegations against Spacey.

And although I am a fan of Denzel Washington's work (I've yet to see Roman J. Israel, Esq.), I feel his acting nomination may have been an excuse for the Academy to remain a little more diverse.

But the biggest disappointment of all was the Academy's apparent undervaluing of comic book-related movies (much like the animation medium continues to be). Sure, Marvel's Guardians of the Galaxy, Vol. 2 was given a Best Visual Effects nod, and the hard-R Logan (another Marvel property) got acknowledged for its adapted screenplay. But Wonder Woman (based on the popular DC warrior) was one of the most influential and inspiring films this past year, especially for women in the industry, audiences in moviegoing droves, and for proof that superheroes are not strictly a boy's club. So the very fact that director Patty Jenkins, star Gal Gadot, and the film itself weren't recognized at all is an utter shame.

(l-r) Gal Gadot (Wonder Woman) and Hugh Jackman (Logan)

Still, Logan getting nominated in a category that wasn't a mere technical one is pretty incredible. (The only other comic-book-related screenplay that comes to mind is 2003's American Splendor.)

The biggest acknowledgements (and deservedly so) go to first-time directors Jordan Peele and Greta Gerwig, who were also recognized for their original screenplays for Get Out and Lady Bird, respectfully. Not only were their films acknowledged for what they were (one, a horror feature; the other, a coming-of-age story), but they also benefited from elements of comedy and realism. And kudos to British director Christopher Nolan, who, finally, was recognized, thanks to his work on the excellent Dunkirk.

I mentioned in my post two years ago that the nominees then were still a diverse crowd, despite. And here is no exception. Although many have argued about the Academy's lack of acknowledging Latino and Asian performers and filmmakers (Vietnamese-American actress Hong Chau has been getting accolades in recent weeks for her role in Alexander Payne's Downsizing), the nominees this year still range from black (Peele, Spencer, and first-time nominees Blige and Daniel Kaluuya) to represented countries like Mexico (del Toro), Ireland (Ronan), Australia (Robbie), and of course England (Hawkins).

A few other interesting facts:

(l-r) Frances McDormand, Meryl Streep, and Saoirse Ronan
are nominated for Best Actress

2011 was arguably a good year for women in film, in front of and behind the camera. Two key female-led films were recognized by the Academy that year, including the raunchy comedy Bridesmaids (writers Kristen Wiig and Annie Mumolo, and supporting player Melissa McCarthy, all received nominations) and the period drama The Help (Viola Davis, Octavia Spencer, and Jessica Chastain were honored with acting nominations, with Spencer winning that night). This year, no less than ten nominated films feature female protagonists at the realm: Beauty and the Beast, The Florida Project, I, Tonya; Lady Bird, Molly's Game, The Post, The Shape of Water, Star Wars: The Last Jedi, and Three Billboards Outside Ebbing, Missouri; and Victoria & Abdul.

Jordan Peele and Betty Gabriel behind the scenes of Get Out

Jordan Peele has become the fifth black director to receive an Oscar nomination (three in his case, for Get Out), following John Singleton (Boyz N the Hood, 1991), Lee Daniels (Precious, 2009), Steve McQueen (12 Years a Slave, 2013), and Barry Jenkins (Moonlight, 2016). He has also become the fifth person to be nominated for writing, directing, and producing a film that was their directorial debut following Warren Beatty for Heaven Can Wait (1978) and James L. Brooks for Terms of Endearment (1983).

Get Out has also become the sixth horror film to be honored with a Best Picture nomination, following The Exorcist (1973), Jaws (1975), The Silence of the Lambs (1991), The Sixth Sense (1999), and Black Swan (2010).

Timothee Chalamet, Saoirse Ronan, and Greta Gerwig behind the scenes of Lady Bird

Greta Gerwig has become the fifth female director to receive a nomination, following Lina Wertmüller (Seven Beauties, 1975), Jane Campion (The Piano, 1993), Sofia Coppola (Lost in Translation, 2003) and Kathryn Bigelow (The Hurt Locker, 2009). The latter won the award at the 82nd annual ceremony.

Although animated features arguably didn't hit a peak for me this year (sorry, Coco), the news of a particular nominated short film (and the people behind it) got me excited. Veteran Disney animator Glen Keane (whose credits include The Little Mermaid, Beauty and the Beast, and Aladdin) and composer John Williams collaborated with retired basketball star Kobe Bryant on a subject called Dear Basketball, based on a poem Bryant wrote around his retirement in 2016. (Click here to watch that short.)