It’s that time when we’ve more or less gotten everything we have to say about the Oscars out of our cynical systems and, cruelly, we have to say something, anything, about the two categories that Eric Henderson and I want absolutely nothing to do with. Earlier this year, when agreeing again to participate in our Oscar coverage, Henderson made exactly one stipulation: “Absolutely we can split the categories down the middle, provided you don’t sock me with both sound categories.” I share his exasperation, as there’s only so many times you can regurgitate the same series of stats to rationalize your predicted winner in a category like this one, where the most interesting thing to ever happen outside of Avatar losing to The Hurt Locker was Zero Dark Thirty tying with Skyfall for the win three years later. Without a Kathryn Bigelow film in the mix this year to buck any trends, we’re left to fall back on the most reliable barometer of them all: And the Oscar for most sound editing goes to Mad Max: Fury Road.
Will Win: Mad Max: Fury Road
Could Win: The Revenant
Should Win: Mad Max: Fury Road
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