Friday, February 13, 2015

Awards-Nazi 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.

Boyhood (Sandra Adair)
Adair's dedicated distillation of 12-year process into a fluent few hours is a monumental achievement. Sure, it's long, but also well assembled.

Edge of Tomorrow (James Herbert)
Half the fun of this underrated summer action film is in its construct. I especially enjoy Herbert's playful use of montage.

Neighbors (Zene Baker)
Baker's comic timing manages to keep our guts busted for an hour and a half with no reprieve. The party scenes are hysterically well cut!

Whiplash (Tom Cross)
Throughout the entire film – and especially the enrapturing finale – Cross keeps impeccable time with the dizzying tempo of the music. He never rushes or drags.

Wild (Jean-Marc Vallée, Martin Pensa)
Vallée and Pensa's artful collage of images – whether fragmented or more lingering and dreamlike – is the dramatic essence of this film.

Just missed:
Birdman (Douglas Crise, Stephen Morrione)
Captain America: The Winter Soldier (Jeffrey Ford, Matthew Schmidt)
Foxcatcher (Jay Cassidy, Stuart O'Neill, Stuart Levy)
Interstellar (Lee Smith)
Last Days in Vietnam (Don Kleszy)

1 comment:

  1. Gaak... Interstellar found room in just missed over Gone Girl?

    Best Film Editing:
    Edge of Tomorrow
    Gone Girl