The Eddie Awards were handed out last night. Here are the winners:
Comedy: Jojo Rabbit
Animated: Toy Story 4
Documentary: Apollo 11
Nothing particularly surprising. Parasite winning Dramatic made the most sense for them. Marriage Story was never gonna win, Joker would have been a big surprise, for everyone including the Joker team. The Irishman would have made some sense, because it’s Thelma, but I haven’t seen real love for that movie out there to this point. Ford v Ferrari would have made sense as a pure ‘editing’ movie, but Parasite is the consensus favorite film out there by a lot of people and feels like it can easily win the Editing category even without winning Picture. 1917 wasn’t nominated because there’s no editing, so if they’re all in on that, then this didn’t matter, did it? And then in Comedy, Jojo was the de facto winner the minute Once Upon a Time in Hollywood wasn’t nominated. If the guild didn’t nominate it, why would they give it their big award? And Jojo’s the only other nominated film in the category. Then, Toy Story in Animated made total sense. It’s gonna win that category. And Apollo 11 is the consensus best documentary of the year (and they didn’t even nominate it, so that’s how you know it’s good), so that’s no surprise either.
It’ll be real interesting to see what BAFTA does with editing, especially given Parasite not being nominated there. This might actually be one of the few categories of the night we actually have to think about. Which is sure setting up for a 2011 scenario, isn’t it?
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The American Cinema Editors announced the nominees for their Eddie Awards.
This should give us a good idea of what films they like best in the Best Picture race. This is where I wanna see if Parasite gets on. That’s the big one for me. Everything else should be pretty obvious. We know Thelma’s on, we know Quentin’s movie is on, we know Ford v Ferrari is on. So really it’s just what else made it. Rocketman in Musical/Comedy, probably Jojo in Comedy. This stuff is easy. It’s really just about what it tells us for the Oscars. So let’s see what we’ve got.
Here are the ACE nominees: (more…)
The Eddie Awards were handed out last night. Your winners:
Dramatic: Bohemian Rhapsody
Comedy: The Favourite
Animated: Spider-Man: Into the Spider-Verse
Documentary: Free Solo
So there you go. Can’t say I’m overly surprised. In Dramatic, only BlacKkKlansman and Bohemian Rhapsody made the final Oscar list, so if you were going on that alone, Rhapsody was the choice. And Comedy had the other three Editing nominees. I would have suspected Green Book, but The Favourite makes sense. I want to see what BAFTA does. Because if they go First Man or something off the board, then we’re really in a nice little pickle in picking this category. BFCA already went First Man and that’s now off the board. I’m thinking these two are the main two at the Oscars. BlacKkKlansman always felt like “nominee, not winner” in most of its categories and Green Book feels like it only wins Editing if they’re making a decisive statement on Picture. I guess Vice could sneak in, but I don’t know if it’ll rally that kind of support. I guess we’ll find out. But honestly, I think Bohemian Rhapsody is looking like your frontrunner for Best Editing at the Oscars. Look out, guys. This movie’s got support.
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It’s shortlist-apalooza today. Four of them. Big ones, too. Arguably the main four we want to see.
We’ll start with Best Editing, because that’s the one I happened to click on first.
The American Cinema Editors announce five nominees in Dramatic, five nominees in Comedy, and then also announce documentary and animated, which I’ll touch on, but only because it usually just further tells me where things seem to be heading, which we pretty much know already anyway.
Here are your nominees for Best Editing by the Editors Guild: (more…)
The Eddie Awards were given out last night. Here are the winners:
Comedy/Musical: I, Tonya
Dunkirk makes sense. War movies do well in this category. See: Hacksaw Ridge last year. Gonna be tough to beat that one in the end. I, Tonya, also nominated for Editing, also makes sense as a winner. Baby Driver fares better if not for Dunkirk. The only movie that can jump up and win is Shape of Water, which I don’t think needs Editing or will win Editing. I think Dunkirk ends up taking it pretty easily.
Otherwise — Coco, we know is already locked for Animated. And Jane wasn’t nominated for Documentary. How’s that one looking now?
We’re breaking down categories in like a week, but this one seemed self-explanatory from the start.
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Our second guild today is the American Cinema Editors. I love seeing which way they go, though the problem here is — the Academy is just gonna nominate whatever the hell they want for Best Editing, because the major Best Picture contenders have to be nominated for Best Editing (for whatever reason). So, unless they don’t really intend to vote for Call My By Your Name, it’s gonna be nominated for Best Editing, regardless of whether or not it appears on the ACE list. (I haven’t seen anything yet, by the way. We’re all gonna find this out together.)
They announce Dramatic and Comedic categories, which also doesn’t particularly help us, but does expand to more possibilities for them to eventually be right in the end. Isn’t that nice?
Here are your 2017 Eddie nominees: (more…)
The Eddie Awards were given out last night.
Comedy/Musical: La La Land
Documentary: O.J. Made in America
So basically the same set that won the PGAs tonight. No surprises there. La La Land should take the Oscar pretty easily because there’s no incentive for them to vote anywhere else.
For better or worse, we’re kinda locked for a lot of the Oscars already, and we’re all gonna do pretty well overall. The only question is getting those middle of the road categories right. But we’ll get into that next week, when we start breaking down categories.
The ACE Eddie Awards were announced.
Best Editing is the most important category for gauging a nominee’s chances at Best Picture. Which makes these nominations both really important and really not important. Because the Academy is gonna nominate whatever they want in Editing anyway. They’re going to make sure the nominees match what they liked best. But at least we can get a handle on where their heads are at now, so that’s good.
Here are your nominees for this year: (more…)
The ACE Eddie Awards were announced last night.
The winner in Dramatic was Mad Max: Fury Road.
The winner in Comedy was The Big Short.
The winner in Animated Feature was Inside Out.
The winner in documentary was Amy.
What does this mean? Well, I’ll tell you. (more…)
The American Cinema Editors announced their nominees for 2015. This is a pretty important one, as Best Editing is the best path for a Best Picture win. Now, it matters what the Academy Editing branch nominates for Editing, but this is a good indicator of where they’re leaning as a whole.
So without further ado, here’s what the guild nominated:
Best Editing (Dramatic)
Mad Max: Fury Road
Star Wars: The Force Awakens (more…)
The ACE Eddie Awards were announced last night.
Unsurprisingly, Boyhood won for Dramatic, and also not surprisingly, The Grand Budapest Hotel won for Comedic. Seemed surprisingly that they’d actually vote for Birdman, given that it wasn’t nominated. These guilds want to be timely, and feel like they affect the race. They’re not gonna vote for something that’s not nominated, unless they want to continue to stick it in and make them look worse, like when The Lego Movie won for Animation Editing.
Oh, and CitizenFour won Documentary Editing, which pretty much cements that as the favorite to win Documentary.
So those are your Eddie Awards, and that’ll make the final category that much more interesting.
We have our first guild. The American Cinema Editors have announced their nominees. They’re one of the five most important guilds, because if something has a shot at a Best Picture win, it needs an Editing nomination. And this is the guild that nominates the editors. If you remember, they’re the ones that nominated Dallas Buyers Club last year, making everyone go, “Whoa!” So they can swing some major surprises if you’re not paying attention.
And then there’s the stat where something like, 80% of the winners of this the last ten to fifteen years went on to win the Oscar for Editing. Which is not a wholly surprising statistic, which is why I haven’t bothered to commit it to memory or go look it up, because it stands to reason that would be the case.
Anyway, here are your nominees for the 2014 ACE Eddie Awards: (more…)
Captain Phillips won the Eddie last night. So that keeps the Best Editing race open, even though it seems like Gravity is still your favorite. There are reasons to take the Eddie win seriously (Bourne Ultimatum won the Eddie in 2008 en route to an Oscar win; they love films with a lot of editing over ones with technical achievements; Avatar, Inception, Hugo and Life of Pi all lost Best Editing — the big year being 2011 when Hugo, The Artist and The Descendants [which won the Eddie] all lost to The Girl with the Dragon Tattoo; the Eddie does usually get the Oscar category right), and reasons to not (I mean… Paul Greengrass did get a lifetime achievement award the same night. Plus — Gravity).
Either way, the most important thing to take out of this is — the Editing category is still wide open.
The American Cinema Editors have announced their nominations.
Feature Film (Dramatic)
Saving Mr. Banks
12 Years a Slave (more…)
Two guilds announced tonight. First, The American Cinema Editors. As a reminder, only 14 times did one of the winners for the Eddie Award NOT go on to win Best Editing.
The Eddie Awards for Dramatic and Comedy Film went to, respectively, Argo and Silver Linings Playbook. That pretty much seals the deal for Argo as Best Picture and makes it a huge favorite to win Best Editing too. (Hey, remember when I said it was probably gonna end up with Picture, Editing and Screenplay?)
Oh, and Brave won for Animated Film, which makes an upset seem very probable, given that it also won the BAFTA and that Wreck-It Ralph might not have the older contingent going for it. Searching for Sugar Man won for Documentary, which pretty much means we’re all taking that until it loses. And, on a personal note, The Newsroom won one too. I love that shot.
The Cinema Audio Society also announced their awards tonight. That’s for sound mixing. We’ll get into what that actually is if you don’t know when that article goes up soon. But basically, know that the winner of the CAS Awards will impact what happens in the Best Sound Mixing (aka Best Sound, as they seem to like calling it) category. And the winner of the CAS Award this year was Les Misérables. Which, honestly, pretty much means it has that category all but won. They love voting for musicals there when they can. Oh, and Brave won for Animated Film. I see an upset coming…
Oh, so yeah, that’s where we’re at. More categories tomorrow.
The American Cinema Editors have announced their nominees (about three days too late), and, since we already have our Oscar nominees, the most we can really do is see how close the guild was to the nominees, and then maybe figure what that might mean for what’s gonna win. (But even so, we’ll have the actual winner in a few weeks, which will probably help more.)
So here are the nominations (only the important ones) for the 2012 Eddie Awards:
Best Edited Feature Film (Dramatic)
Life of Pi
Zero Dark Thirty
Essentially your Oscar list. The only change we’ll see in a second. (more…)
Today, the American Cinema Editors Awards were handed out, as were the Cinema Audio Society Awards.
First , the Cinema Audio Society Awards, which recognized Hugo in their feature film category and Rango in its Animation category. The latter again virtually assures Rango taking home Best Animated Feature at the Oscars, and the former was kind of a no-brainer decision in a way, but also still kind of a big deal. Hugo and Moneyball were the only two Oscar-nominated sound jobs up for the award, and Hugo isn’t exactly the flashiest of sound designs. Still, it just seemed like the obvious choice. More words on this when we get to the Motion Picture Sound Editors Awards (and the category breakdown in a few days).
The other major announcement was the American Cinema Editors Awards. The first, and least surprising of the two, was The Artist winning in the Musical/Comedy category. This was totally expected and cemented its status as a major contender for the Oscar. The surprise, however, was seeing The Descendants win for Best Dramatic film, beating out Hugo, Moneyball, War Horse and The Girl with the Dragon Tattoo. So basically, swap out The Artist for War Horse, and The Descendants just won Best Editing over the Best Editing category at the Oscars. Which is strange, considering it’s really the consensus lesser editing job of all (except War Horse, probably). Not that it isn’t solid, it’s just — I think we can all agree that the other films did a better job at cutting things together. Plus Thelma Schoonmaker’s won this award like five times or something, so it’s just strange. I’m not too concerned with its chances at the Oscar, since the Editors Branch only totals about 220. Either way, really, all this really tells me is that The Artist might actually win another award (one it probably shouldn’t win, if we’re talking my opinion). Maybe Hugo still takes it (after all, it is still Thelma), but then again, she did win for the Best Picture winner the last time. Maybe The Artist still takes it. More on this in a few days…