My Award nominations: Sound Editing

Last year my nominees for Best Sound Editing were five completely different films than my nominees for Best Sound Mixing, but as much as I do wish I could similarly spread the wealth this year, there were a couple of films whose sound elements simply could not be denied recognition in both categories.

Sunday Top Ten: Sound effects

Time has been somewhat tight for me this week, so you're getting an abbreviated edition of the Sunday Top Ten; a quick countdown of some of my favourite movie-related sound effects.

Sunday Top Ten: Responses to people who try to tell you Star Wars sucks

This Wednesday marks the 34th anniversary of the U.S. Release of Star Wars, a film that helped define the modern blockbuster. Yet, as beloved as it is many, it's just as commonly despised. It's not a film franchise for everyone. Neither is this top ten list. Whenever Star Wars detractors contradict my often enthusiastic advocacy for the films, I usually whip out one of the following chestnuts in their defense. If you're a Star Wars fan, enjoy the list! If you're Star-Wars-averse, feel free to retaliate with your own rejoinders.

Best of the Decade #7: WALL-E (2008)

The opening scenes of this masterpiece from Pixar play out as a dark Kubrikean science-fiction; a disturbing painting of the ravages of environmental indifference and mass consumerism on our planet. But at the heart of it, WALL-E is a love story of beautiful simplicity yet surprisingly deep in its subtextual implications. The ultimate message is one of hope for the future of humanity, presenting the two robots as a kind of futuristic Adam and Eve. Some might even perceive one particular scene as being the pseudo-sexual conception of a new humanity, whereby WALL-E puts his "seed" into the "egg-shaped" EVE (this character's name is no coincidence). The next generation of humans is even meant to resemble babies in space, sucking up liquid meals, virtually no bone density, unable to walk. It signifies human civilization in infancy, a civilization of which WALL-E and EVE are virtual father and mother.

As for the somewhat blunt environmental message, the film makes a point of suggesting that our new technology (and consumption thereof) is not to blame for the environmental crisis, but our own contentedness to sit back and assume everything is OK. The machines are not an enemy that needs to be fought. Our story's savior is one such machine himself. It's human kind's paradigm that needs to be confronted; Man cannot rely solely on his machines, but with machines, he can achieve more than he ever could alone. It's through that combination of the old and the new that civilization will evolve (an idea poignantly evoked during the gorgeous end credits).

The film-making itself is a testament to the combination of the old and the new, where the classics of the silent era are emulated with the most visually stunning of modern technology. High praise must be sung for writer-director Andrew Stanton, who recognizes that a picture is worth a thousand words. WALL-E is made up of thousands of said pictures, each one as effective and filled with emotion as the wordiest of dialogue. WALL-E speaks a different type of dialogue. One with a more universal appeal. With WALL-E, Pixar has created a perfect marriage of the most modern film making techniques and the most ancient ones, hearkening to a time when the movies didn't rely on sound to get the point across.

Not that I've got anything against sound. On the contrary, Ben Burtt's exceptional sound effects for this picture intelligently help convey the thoughts and moods of all the robot characters. His achievement here almost equals his groundbreaking accomplishments on Star Wars over 30 years ago. Credit also Thomas Newman for his equally inventive score.

It may not be perfect, but WALL-E represents one of the decade's cinematic milestones; utterly gorgeous in its visual and audio design, brimming with thoughtful and important ideas, and above all else, a genuinely moving romance that overcomes all odds.