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:
AMY (Chris King)
A tremendous editing achievement that pulls from a wealth of sources to tell more sides of the story than music bios usually illuminate. So much footage to sift through; So many moments to piece together.
INSIDE OUT (Kevin Nolting)
Bounces nimbly between the external world and the internal one of Riley's mind, often juggling simultaneous plot threads and intermittent montages with flawless timing.
MAD MAX: FURY ROAD (Margaret Sixel)
The footage assembly here is white-knuckle stuff, delineating over 400 hours of material into a zippity 2-hour action package that stops to wait for no one.
THE MARTIAN (Pietro Scalia)
The range and variety of cutting on display is the film's greatest unsung virtue. This is expertly fluent work, handling montage, action, dramatic beats, and comic timing with great dexterity.
MISSION IMPOSSIBLE: ROGUE NATION (Eddie Hamilton)
It's not all about that Vienna Opera House sequence (although it is brilliantly Hitchcokian); All the set pieces are excitingly spliced, and none of them feature exactly the same editorial style.
Creed (Michael P. Shawver, Claudia Castello)
Sicario (Joe Walker)
Steve Jobs (Elliot Graham)
Carol (Affonso Gonclaves)
Spotlight (Tom McArdle)