Fincher's mixing crew is back after a somewhat atypical but well-deserved nod last year for The Social Network. Their work on The Girl with the Dragon Tattoo plays an arguably bigger part in defining its film's atmosphere, whistling in chilly gusts of wind and integrating Reznor and Ross' music so gradually that you barely even notice. If it were a Best Picture nominee it might stand a better chance at winning.
A more likely winner is the beloved Hugo, whose re-recording mixer Tom Fleischman had his hands full with all those clock sound effects competing for our attention. The mix is indeed solid, but I suspect general affection for this Best Picture hopeful helped it out with its pair of sound nominations. Then again, its CAS nod might suggest that mixers genuinely do admire the work. At any rate, let's call it the runner-up for now.
The only other CAS nominee to make the crossover to Oscar (which is a rarity - usually they match up at least three for five) is Moneyball. As impeccably as the film is crafted in every respect, I have to admit that this nomination is a puzzling one, as it's clearly not a showcase for sound work. But that's fine with me. The sound is very organic within the movie, and it's so seldom that this category embraces subtlety, so I can hardly complain about that.
The anti-Moneyball of the category (as in the exact opposite of subtlety) can be none other than Michael Bay's latest explosion porn Transformers: Dark of the Moon, which brings Gary P. Russell his fifteenth nomination, and what will inevitably be his fifteenth loss. I must give the sound branch major props for consistently sticking up for the man, who never fails to lend astonishing sonic cognizance to Bay's visual cacophony. The mix here is handily the most complex and accomplished of the field...
... but...
... it's no match for an old fashioned war movie. As is usually the case, the Academy doesn't understand the difference between the two sound categories, and will often give both to the same film. Following that logic, it only makes sense to assume that if they give Sound Editing to War Horse, they'll give it Sound Mixing as well, which would make Gary Rydstrom a double winner for the fourth time in his career! Good for him too. The mix for War Horse is detailed and involving, and would indeed make a fine winner.
Will win: War Horse
Runner-up: Hugo
Should win: Transformers: Dark of the Moon
Should've been nominated: We Need to Talk About Kevin
