Reel and Roll Awards (7): Sound Editing and Mixing 2017

Reel and Roll's BEST SOUND EDITING 

• Dunkirk easily takes my win here, as it's probably up there with the best sounding war films of all-time, if not the best sounding war film of all-time, but Blade Runner 2049 and The SHape of Water are no slouches either in creating their own very particular brand of sounds. Click here for my thoughts on Dunkirk, and the other Best Sound Editing Nominees.

• Detroit's sound editing is terrific and really immerses you in the claustrophobic atmosphere of the Algiers motel incident with every scream, shout, and gunshot, but also any of the singing scenes where the arc of Larry Reed's singing. It might not be the most stylish work but as per a Kathryn Bigelow film, it really captures that viscreal, gritty intensity required for this sort of film. 

• Foxtrot and Phantom Thread deserve mention, particularly the former, for such immaculate sound editing of both the seemingly mundane sounds and the ones emphasized to create the sense of unease and instability within the character dynamics, I have particular affection for any of the 'war scenes' in Foxtrot where the sound work really amplifies the tension even when nothing much is going on.

• Okja, Get Out, and Baby Driver feature just very good examples of films that just sound very good and engage you with the audio consistently.

• John Wick: Chapter 2 might have been rather disappointing on a story level, but in terms of the way the action scenes sound, it's as great as ever. 

1. Dunkirk
2. Blade Runner 2049
3. The Shape of Water
4. Detroit 
5. Foxtrot
6. Okja 
7. Phantom Thread
8. John Wick: Chapter 2
9. Get Out
10. Baby Driver

Reel and Roll's BEST SOUND MIXING

• Phantom Thread is such a curious snub from the Oscars, as the sound mixing is essential to the film's success, I always think back to the final 10 minutes of the film or so where the combination of the music and the sounds Alma makes while cooking as being essential to the transfixing power of the ending, and really any scene where we get some insight into Reynolds Woodcock's fickle nature when it comes to disruptive noises. 

• The nominated Blade Runner 2049, Baby Driver, and The Shape of Water are no slouches either though - whether it's Blade Runner's combination of the spellbinding score and the sci-fi noises utilized in such a unique way, Baby Driver's memorable mixing of tunes to visuals, or The Shape of Water's recurring motif of flowing water. Click here for my thoughts on the Sound Mixing category at the Oscars.

• Get Out and Logan excel in similar ways with their sound mixing in creating this tense, relentless atmosphere in the 'action' scenes, and a pervasive brooding air in the 'quieter' scenes. Particular praise must go out to the merging of the teacup with the 'sunken place' sound effects in Get Out, and any sound that depicts the Logan's gradually deteriorating physical state, the screams, and the increased effort with which he needs to get his claws out.  

• Okja and Coco excel in similar ways in creating this wonderful atmosphere in their use of sound mixing for the music and the visuals, with the use of 'Annie's Song' and the simple but effective theme working perfectly in accordance with character's dialogue, and Coco doin the same thing with its celebration of the Mexican musical tradition. 

• Good Time features stellar work on the sound mixing front, particularly in the sequences where there's not much dialogue, as the excellent socre and background sounds are combined in such an organic fashion that meshes well with the established tone of the film. 

• Wonder Woman's sound mixing may not be perfect, particularly in the final act, but for the majority of the action sequences it's impeccable work, with particular mention going to the 'No Man's Land' scene and its explosive aftermath. 

1. Phantom Thread
2. Blade Runner 2049
3. Baby Driver
4. Get Out
5. Logan
6. Good Time
7. Okja
8. The Shape of Water
9. Coco
10. Wonder Woman