One Category at a Time: Best Film Editing

Since the art of picture editing is so tricky to assess on face value, it can be equally tricky to predict how a large voting body like the Academy will assess it. The Oscar for Best Film Editing usually goes either to the Best Picture winner or probable runner-up, or occasionally something far from winning Best Picture but which obviously features the "most" editing. Over the last fifteen years, three precursor groups in particular have been informative: The BAFTA, the BFCA, and the ACE guild.

My Award Nominations: Editing

All five of these movies that I've chalked up as having the Best Editing of the year all have one thing in common: Excellent pacing. And yet I'm fascinated at how incredibly diverse their tempos are, some finding rhythm in languid relaxation, others in frenetic montage. Check them out below.

ACE Eddie Winners, and PGA/SAG Preview

To the surprise of precisely no one, La La Land won the ACE Eddie Award last night for Best Edited Feature Film (Comedy). Tom Cross is likely en route to his second Oscar in three years.

The Dramatic Feature category was a bit more competitive, but prevailing pundit logic of Joe Walker's editorial of Arrival winning out proved to be correct. Can't argue with either of these winners. For me, they're easily the top two editing achievements of the year, with everything else eating their dust.

ACE Eddie nominations

It's going to be a busy two weeks of guild nominations and precursors, starting today with the American Cinema Editors (discussed after the cut), and continuing all the way to next Thursday (the 12th) with the Directors Guild. Polls for Oscar nominations, by the way, will close the very next day.

Critics groups have made it clear that the two horses they'd back are Moonlight and La La Land, which (by no coincidence) are also the only two yours truly would consider voting for as Best Picture of 2016. That's the thing about weak years: It makes it real easy for consensus to form around the few truly great movies that materialize.

Both seem likely to win the respective categories where they were nominated by the editors' guild, but let's take a quick survey of the other contenders...

My Award Nominations: Editing

My roster of personal nominees continues growing this weekend with the visual post-production categories and music.

It's one of those years when I wish I could include about seven or eight nominees for Best Editing. It pained me to make some of these cuts (heehee), but I like the final five I've wound up with:

One Category at a Time: Editing

It used to be you could always count in the ACE winner to guide your prediction for Best Film Editing, but in the four years since The Girl with the Dragon Tattoo stunned on Oscar night, this has become the hardest craft category to gauge. Sometimes they go with the Best Picture winner, sometimes the presumed Best Picture runner-up, sometimes something whose editing is just more conspicuous.

ACE winners and SAG Predix [UPDATE: Winners]

It's a busy weekend of guild activity. The American Cinema Editors handed out hardware last night to all the usual suspects: Amy and Inside Out received their due in the ghettoized doc and animation categories (but seriously, the editing in those two are good enough to be up for the Oscar), while the current fruntrunners for the Academy's editing prize, The Big Short and Mad Max: Fury Road, got to split the top honours due to comedy/drama distinctions. I'm leaning the way of The Big Short coming out on top in the end, but a BAFTA win for Mad Max may yet give me hope.

Both of those are also in the hunt for awards from the Screen Actors Guild tonight. Mad Max is sure to take the prize for Best Stunt Ensemble, but The Big Short has its eyes set on the more significant Best Ensemble category. If Spotlight is going to make a push back in the latter half of phase two, it must start here. If it loses, however, then it truly is a runaway train.

Three of the four individual acting categories feel locked into place, but for Best Supporting Actor due to the absence of presumed frontrunner Sylvester Stallone. If Mark Rylance or Christian Bale (the only SAG contenders nominated for the Oscar) win, then I think this is still a race to the finish.

My guesses:
Best Stunt Ensemble: Mad Max [WINNER: Mad Max] Because d'uh.
Best Supporting Actor: Christian Bale [WINNER: Idris Elba] So this ends up not affecting the Oscar race for the moment. Only the forthcoming BAFTA ceremony can shed any light on who Sly's greatest challenger really is.
Best Supporting Actress: Alicia Vikander [WINNER: Alicia Vikander] Category fraud lives.
Best Leading Actor: Leonardo DiCaprio [WINNER: Leonardo DiCaprio] Cannot be stopped.
Best Leading Actress: Brie Larson [WINNER: Brie Larson] But will the Brits prefer her to Irish darling Saoirse Ronan?
Best Ensemble: The Big Short [WINNER: Spotlight] Thank God! This is enough to at least keep the Best Picture race interesting for another week. And even if this proves to be the only major prize that Spotlight claims over The Big Short, it's certainly the most satisfying and deserved prize to win.

Review - Mission: Impossible -- Rogue Nation

In an age when cinephiles continue to bemoan the glut (and the fiscal success) of unoriginal populist entertainment, I feel it's important to remember not all unoriginal populist entertainment is created equal. There's that which is dumb, lazy or poorly made, and there's that which is so well executed it truly entertains despite its familiarity. Mission: Impossible – Rogue Nation, the fifth in the series of Tom Cruise vehicles which had plateaued at 'mediocre' until Brad Bird's 2011 entry Ghost Protocol, falls comfortably into the latter designation.

Thankfully, you don't need to have followed the previous globe-trotting exploits of super spy Ethan Hunt (Cruise, barely aged since his first M:I outing in 1996) and his Impossible Mission Force, IMF, to enjoy Rogue Nation. You don't even need to follow this one all that closely. In a franchise whose primary draw is its star and his daring-do, story details erase themselves from one's memory as readily as the famously self-destructing messages that send Ethan on his next mission, should he choose to accept it. Which he does, of course.

Review - Mad Max: Fury Road

It's a mad, mad, mad, mad world. Max is just living in it. Well, existing in it.
By his own admission, survival is the one instinct that he – the last sane man in a world gone crazy – has been reduced to as he wanders through the post-
apocalyptic Wasteland in Mad Max: Fury Road, the fourth in a film series that hasn't revved its engines since 1985.

The real madman is producer-writer-director George Miller. Mad for deciding to pull his long dormant road warrior out of retirement 30 years beyond Thunderdome; Mad for conceiving the sort of world that heretofore could only have existed in a truck-driving anarchist's worst acid trips; And finally, mad for pulling it off with the sheer mind-shredding gusto that filmmakers half his age (he recently turned 70) consistently struggle to inject into modern action movies.

Best not to stand up after seeing this one. It'll melt your bones from the inside.

Early Oscar Predictions: Visual Post-Production

Once principle photography has wrapped, the long, laborious post-production process begins. Editors splice together all the footage while visual effects artists and animators complete the effects shots.

The editing branch has a habit for mostly cribbing from the Best Picture lineup for their own nominees. That doesn't give us much to go on from a predictive standpoint, but there are a few early contenders that wouldn't be terrible bets.

What to do about film editing and sound mixing?

I've already written my pieces about Best Film Editing and Best Sound Mixing, but it bears repeating:

These categories are really freakin' tough to predict. More so this year than usual.

Whiplash has the type of editing style that frequently wins Oscars, but have enough voters actually seen the scrappy Sundance alumnus that barely passed $10M at the box office? How many Academy members are buying the "12 years of footage" byline in Boyhood? American Sniper is certainly the wild card in the category and I may stick with it as my final prediction (hey, you need to allow yourself at least a few against-the-grain guesses), but it'll be a game time decision.

Best Sound Mixing is an equally frustrating three-way race. The driving musical rhythms of Whiplash certainly stand out, but it's a question of how many voters have seen it? Don't let J.K. Simmons' domination of Best Supporting Actor fool you; There are a ton of people who will vote for him without having seen his performance (dude's beloved). And will the sound really jump out at people on screener? Birdman has brilliant sound work that excels by not drawing attention to itself, but neither did the likes of Hugo or Slumdog Millionaire. And American Sniper looks strong in sound editing, so how does it makes sense not to predict it here, given how rare splits are?

All of this is simply to say: Don't be surprised if my prediction sidebar toggles back and forth on these categories over the next few days. I'm also having similar debates about Best Foreign Language Film, which I'll address tomorrow.

[UPDATE:] I'm also reneging on a couple of my initial thoughts in the shorts. All will be finalized by Sunday morning at the latest.

One Category at a Time: Film Editing

Well... I got nothin'.

I've been very hit-and-miss in this category as of late, failing to guess the retrospectively obvious win for Gravity last year and the forever unobvious win for The Girl with the Dragon Tattoo two years before that. But I ain't never seen a Best Film Editing race as confusing as this year's, in which the Best Picture favourite isn't even in the running, and almost every nominee feels like a possible – heck, even a likely – winner.

My Award Nominations: Best Film Editing

Today I've got a couple of post-production elements to add to my growing awards ballot. Starting things off is Best Film Editing. The temptation was great, but I resisted the urge to merely load this category with Best Picture nominees (this ain't the Oscars!), and tried to branch out where I could. The following five films are not only extremely well edited, but they also display a very wide cross-section of editing styles. Variety is the spice of film awards!

Check 'em out after the jump.

BAFTA Clarifies Some Races, Obscures Others

So the EE British Academy of Film and Television Awards just wrapped up not long ago, but you won't get to watch the ceremony until later tonight because for all their fine cinematic tastes, the organization still hasn't evolved past their daft custom of broadcasting the show after all the winners are all public knowledge. Get with the times, BAFTA!

Anyway, I'm not really interested in the program so much as the results. Boyhood shrugged off last night's possibly crippling DGA loss to keep its Oscar hopes afloat. Also winning for the film were Patty Arquette (lock) and director Richard Linklater (not so much a lock).

Other big winners include The Grand Budapest Hotel with five, and The Theory of Everything and Whiplash with three. Oscar frontrunner Birdman took home only a single honour for Emmanuel Lubezki's virtuoso cinematography.

But what I was hoping this last major precursor of the season could really do is help illuminate some of the Academy's more unpredictable races. The British Academy is, after all, similar in membership size to AMPAS, and can therefore offer some clues on what sort of films will appeal to a large group in certain categories.

Will DGA-BAFTA Weekend Clafiry Some Tight Races?

Final Oscar balloting started today, right on the cusp of a weekend that will unveil the winners of the Directors Guild of America and the British Academy of Film and Television. A number of the Oscar categories still feel maddeningly close a full three weeks after they were announced, so the pending results of this weekend's kudos could be the litmus test we need.

Or they could just be a bunch of red herrings.

Take the Best Actor race, for instance:

'Boyhood', 'Grand Budapest' Win with Editors Guild

The American Cinema Editors handed out their hardware last night, honouring Boyhood's Sandra Adair in the drama category and The Grand Budapest Hotel's Barney Pilling in the muscial/comedy category. Both were nominated by the Academy.

I gotta say this Oscar category is still a complete mystery to me. It used to be that the winner of the ACE drama award always went on to win the Oscar, but that pattern has been bucked twice in the last three years. True, Boyhood could pull out the win on account of its "12 years of footage" narrative (a bit of an oversimplification, as it's actually only 12 weeks of footage amassed over 12 years), but the Academy usually goes for editing that... stands out. The greatest thing about Boyhood's montage is how invisibly fluent it is. I could definitely see something with a more rigourous cutting style like Whiplash or American Sniper taking it.

Elsewhere, The LEGO Movie won the animated category, adding more salt to the wound of its Oscar snub, while Citizenfour won the doc category for Mathilde Bonnefoy (who will actually get to take home her own Oscar since she's also a producer on the film).

Review - American Sniper

Pulling a trigger may be the single most dehumanizing act there is. Every time one person makes the conscious decision to end the life of another, they lose a part of themselves that cannot be retrieved. Most people would grow ill at the thought of performing this act even once. What kind of person would it take to have done it 160 times? How would he/she feel?

In Clint Eastwood's American Sniper, we're introduced to the real-life figure that epitomizes the moral quandary at the root of killing for one's country; NAVY Seal Chris Kyle, who became the deadliest shot in U.S. military history over the course of four tours in Iraq, earning him the nickname 'Legend'. But an introduction is not the same as an examination, and as riveting an introduction it is at times, it does not delve deep enough into the man behind the 'legend'.

ACE Eddie nominees yield a couple of surprises

Next week promises to be a crazy busy one for awards watchers with no less than six guilds announcing their nominees. But getting a jump on all of them are the American Cinema Editors, who offered up their opinion of the best edited films of the year this morning.

Most of the biggest players in the Best Picture race found some love from the editors, except for Selma which might be suffering the effects of a super late release.

But the more interesting than any snubs are the entrants that weren't entirely expected: Nightcrawler and American Sniper both turned up in the Drama category -- which has six nominees due to a tie -- and that can only be a good omen for these Best Picture dark horses during this crucial voting period (ballots went out on Monday and are due next Thursday).

Check out all the nominees with some additional comments after the cut.

'Boyhood' dominates busy day of critical kudos

There were three critics groups announcing their awards today (props to all those folks who sat at there computer for 12 hours watching the drip feed of winners on Twitter): Boston Society of Film Critics, New York Film Critics Online, and the LA Film Critics Association. All three of them echoed the New York Film Critics Circle's decision to name Richard Linklater's Boyhood the best film of 2014.

Linklater himself also took all three Best Director prizes, but wasn't even in a timezone where he could hear all the good news! Instead he was overseas at the British Independent Film Awards, where his critical darling won Best International Film. Talk about an eventful day!

Beyond those top two categories, the only other race which saw a unanimous winner from all three organizations was Best Documentary, which predictably went to Citizenfour. I've only seen a couple of docs this year (the other being the enjoyable if unremarkable Life Itself), so I'll have to catch up with a lot of the other contenders before deciding if all this praise for this one is justified.

After the jump I'll list the winners and runner-ups of the LAFCA with some thoughts:

Review - Force Majeure

If you and your family were faced with a life-threatening situation, how would you react? Would you put yourself in harm's way to protect your loved ones, or would your self-preservation reflexes compel you to flee?

Obviously, the more valorous answer is the one you would give to anyone who asks, but the truth is we never really know which instinct will rule our actions until we're actually faced with a real force majeure. That legalese term for an extraordinary or dangerous circumstance is also the title of Swedish provocateur Ruben Östlund's new dramedy, which probes this hypothetical for some revelations as slippery as a double black diamond ski run.

Östlund sets the scene at a luxury resort in the French Alps, where we meet a seemingly idyllic family: Tomas, Ebba, and their kids Harry & Vera. And yet Östlund suggests that they're not nearly as solid as they let on.