A 3/5 crossover this year between my two sound categories. That's more than I usually want, but the three double-dippers just can't be denied. Find out what they are, plus what other two titles I loved for their Sound Mixing:
LOVE & MERCY (Eugene Gearty, Chris Jenkins, Edward Tise)
The use of sound is easily this hit-and-miss biopic's most successful creative decision, putting us right in the agitated, tumultuous headspace of a troubled musical genius. This mix is genius itself.
MAD MAX: FURY ROAD (Chris Jenkins, Gregg Rudloff, Ben Osmo)
From the voices in Max's head to the guns and explosions going off just outside of it, every sound is carefully placed to enhance the visual storytelling, rather than distract from it.
THE MARTIAN (Paul Massey, Mark Taylor, Mac Ruth)
Builds distinctive sonic character for Mars, Earth and the vacuum of space with invisible skill, cheekily set to an upbeat disco playlist and first-person narration that never sounds intrusive.
THE REVENANT (Randy Thom, Frank A. Montaño, Jon Taylor, Chris Duesterdiek)
Keeping up with Chivo's elaborately kinetic camera is always a challenge for sound mixers, but this team crafts a wholly immersive environment, with ethereal music & foley that envelopes the listener.
SICARIO (Tom Ozanich, John T. Reitz, William Sarokin)
Superbly integrates Johannsson's score and the horrific sound effects to generate an atmosphere that's aurally suffocating. You feel like you're in danger just listening to it.
Everest (Niv Adiri, Ian Tapp, Adrian Bell)
Inside Out (Michael Semanick, Tom Johnson, Doc Kane, Vince Caro)
Jurassic World (Christopher Boyes, Peter Horner, Kirk Francis)
Spectre (Scott Milan, Gregg Rudloff, Stuart Wilson)
Straight Outta Compton (Jon Taylor, Frank A. Montaño, Willie Burton)