With the last remaining categories basically being mini representations of “Best Picture” (for animated, international, and documentary features, and all of the shorts as well), we only have Best Director left (which can be paired up with Best Picture). Therefore, we’re going to leap right into two of the most popular categories: the lead acting nominees. First off, the Best Actor group is incredibly strong. You know it’s rough when Robert DeNiro’s finest performance in decades doesn’t get in, and you’re not throwing a tantrum. Even Adam Sandler’s season long quest came to an end sooner than intended, but we think that had more to do with those who did get in rather than those who didn’t. Plus, let’s be honest at this point: only one person is going to win. Let’s just celebrate this category nonetheless.

Here are your nominees for Best Actor, ranked from worst to best.

Biggest Snub: The Last Black Man in San Francisco: Jimmie Fails

We want to use this opportunity to finally discuss this. How in the hell did The Last Black Man in San Francisco not get any sort of love this awards season? In a decade when Beasts of the Southern Wild or Roma could make some splashes (indie, arthouse, or both), the absolute disregard for one of 2019’s finest works is an absolute embarrassment. Since the five nominees are all incredibly strong, we’re going to highlight this overlooked performance, where Jimmie Fails relives the darkest moments of his life in a fictional, near-fantastical depiction. It’s a healing process that is painful to see on the big screen. It’s a bold performance that deserves even your slightest consideration: you won’t be let down.

5. The Two Popes: Jonathan Pryce

Let us say we are thrilled that Jonathan Pryce is finally being recognized by the Academy. Ever since he was Sam Lowry, he has been one of those actors we rooted for to be acclaimed in some capacity. Well, it took him speaking multiple languages, and virtually being Pope Francis for the awards season circuits to finally take notice. Pryce is last, because his performance is more neutral and based on being a sublime depiction of His Holiness; it can be easily overtaken by the more demanding, commanding performances here. Still, Pryce is a great representative of the pope without ever becoming a caricature. It’s stunning to see, actually.

Our review of The Two Popes

4. Once Upon a Time in Hollywood: Leonardo DiCaprio

This one absolutely hurts us. This is how rough this category is. Leonardo DiCaprio as Rick Dalton is easily one of our favourite performances of 2019, but such is the curse of ranking without allowing for nominees to be tied. DiCaprio is hilarious, magnetic, dramatic, and his usual force to be reckoned with. As a “has-been”, DiCaprio may make the role funny to gawk at, but you still feel for his insecurities and problems with alcoholism. He stutters out of panic, glares out of disbelief, and slouches in his chair trying to take his current situation in without cracking. By the end, he’s the Old Hollywood icon we’ve all been rooting for: evidence that this is all just a product of the Hollywood machine masking the ugliest truth at the tail end of the ‘60s.

Our review of Once Upon a Time in Hollywood

3. Pain and Glory: Antonio Banderas

At least once a year, the Academy has a bold selection to make up for the countless predictable moves. This year, Antonio Banderas being honoured for his greatest performance yet is that statement. Banderas is basically playing a fictional take of filmmaker Pedro Almodóvar in his own self-reflection film Pain and Glory. As “Almodóvar” (but not really), Banderas places himself in the director chair and tries to cathartically take in all of the nonsense he has had to endure as an actor for decades (from all filmmakers, mind you; he’s just worked with Almodóvar the most). As a character that is beyond his years and trying to figure out what’s left in life (especially in a biological vessel on the verge of a complete collapse), Banderas is existentially broken, and he represents how we all feel (at least some of the time).

Our review of Pain and Glory

2. Marriage Story: Adam Driver

We’ve been supporting Adam Driver since the start of the decade, and we’re chuffed to bits that he has taken on such a dynamic role in Marriage Story. He takes charge of the awkward moments in Noah Baumbach’s screenplay with absolute ease (and hilarity). Once his “story” goes down hill, he shuts down entirely, like an empty corpse being forced to continue living. Once the divorce gets ugly, Driver is coaxed until he breaks. Some of his tantrums don’t make sense, but we know they make sense to him due to how well Driver sells his insane thoughts. By the time he spurts out that one line that has stayed with all of us, we know we’ve witnessed a raw place that many performers simply can’t access. The best part? We know this isn’t the best Adam Driver can do. We can’t wait to find out when he’s reached that point, because even this is incredible enough.

Our review of Marriage Story

1. Joker: Joaquin Phoenix

Twelve years ago, Heath Ledger instilled faith in all of us. He made a performance that united every movie watcher from every circuit (casual, blockbuster, arthouse, snobby, anyone). It was a miracle of a performance. Cut to 2019, and Joaquin Phoenix has managed to pull off the same feat. In a year when the Academy has more than five nominees for Best Picture, Joker has been plastered in eleven categories including the top spot. Honestly, it’s because of this guy. Picture a worse actor trying to pull off Arthur Fleck in this film, and you’ve got a potential flop. It’s because of Phoenix that some of us (Films Fatale included) even have the slightest bit of respect for Joker. What a transformation. His inability to cry turns into a neurological tick: a laugh of torture that he cannot stop. He’s already broken when we meet him, but he gets even more suffocated to the point of losing consciousness (in a reality sort of sense). Sure, Joker has a lot of problems with its implications of what mental health can turn into, but Phoenix sells all of these points with his committed, transformative acting. Watch the “talk show” scene alone, and notice every tiny action Phoenix pulls off (from voice cracks, to leg shakes, to eyes darting, to every breath he takes). It’s borderline Brando-esque. We don’t think we’re in the minority here. This is Phoenix’s year, finally.

Our review of Joker

Who we want to win: Joaquin Phoenix has deserved an Oscar years ago. Give him the damn award already. He won’t get another chance, because of his refusal to care or play ball with the Academy. We don’t know why this is so important to us, but it is.

Who we think will win: At this point, Joaquin Phoenix’s disregard for awards shows hasn’t gotten in the way this time (like it has with The Master and Walk the Line). He’s getting an Academy Award, whether he likes it or not.

Tune in tomorrow for our next Academy Award category! We’re reviewing every single nominee.

Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.

Best Actor: Ranking Every Oscar Nominee