Reel and Roll Awards (7): Best Editing/Best Ensemble 2018

Best Editing

10. Blindspotting

Editing a crucial part of any of these somewhat plotless/'slice of life' films, and in this regard the film does an impeccable Jon of always keeping the central thrust of our two protagonists' lives going with forward momentum, and the scenes which involve a bit more style in the editing, like the barbershop scene, the rap courtroom scene, and the finale, are well done too.

9. Boy Erased

One nitpick for the scene between Jared (Lucas Hedges ) and Xavier (Theodore Pellerin) which feels a bit rushed, and the implementation of 'Revelation' isn't quite perfect there. Otherwise flawless work, particularly the scenes at the Love in Action program where the vibrant yet never excessively showy use of cutting and montage creates that disorientating sense of Jared's unease.

8. Burning

The opening half of the film is very slow and deliberate, for sure, and could've easily been trimmed down, yet otherwise this is a phenomenally edited film, particularly in how it really amplifies that slow-burning approach of Lee Chang-dong to both the visuals and the unfolding mystery. I think the way the editing creates such an eery harmony to put us both visually ahead and psychologically behind whatever Joong-su (Yoo Ah-in) is getting up to in terms of uncovering the mystery behind 'burning' is particularly admirable.

7. Creed II 

Great work as per usual, with the visual storytelling and the pace of storytelling all of usual Rocky standard which is a very good standard, and of course the montage training scene done beautifully as always. Nothing of particular note that stands out compared to previous installments, but it's great work in itself.

6. The Favourite

I've praised the work on this film previously, and my point about its pitch-perfect timing of character reactions still stands. I will note a slight reservation about its ending which I do think is not on the level of everything beforehand, more from a stylistic perspective than story-wise, and loses a bit of the momentum established beforehand in terms of that 'punchiness' when Sarah Churchill leaves court. Still a minor nitpick and otherwise marvellous work.

5. The Ballad of Buster Scruggs 

With a re-watch, I've come to appreciate actually how the order in which the Coen Brothers present the six stories is actually in a pretty seamless, thematically speaking, fashion, which is of course testament to the screenplays, but the editing comes into play here. None of the stories feel overlong or too short even though they're paced so differently. As per usual, the editing isn't something that deliberately stands out in the Coen's work, but instead performs the great art of being the unseen entity which keeps their more obvious strengths flowing with such fluidity.

4. Roma 

A non-narrative structure like this film's always opens itself up to potential problems with the editing, well none of that is found here as the cutting of the film is just perfect on pretty much every level. It frankly keeps the film moving past potential excesses by tempering the glorious long shots with the right balance of more evenly paced scenes, and keeping that emotional flow of the film throughout regardless of the change of approach. It's beautiful work that is perhaps one of the less showy of the film's artistry, but nevertheless an essential part of it.

3. Can You Ever Forgive Me? 

Incredible work, with the right sort of vibrancy this sort of story requires, but goes beyond even the call of duty for that. Even though the film is primarily about Lee Israel's forgeries of famous writers, the story structure is loose in a way that could easily feel episodic, but instead the day-to-day life and interactions of Lee just feel like a very natural, and very entertaining, look at a life. The way each scene builds upon the last just feels perfectly placed, the cutting between the characters in dialogue scenes (and restraint when required) helps to emphasise both laughs and the dramatic moments, particularly in the final few scenes of the film.

2. Mission Impossible - Fallout

The best edited action film since Mad Max: Fury Road, and I wish like that film it had put itself into contention for Oscar glory. Frankly the task at hand was perhaps more of an impossible mission than ever with this particular instalment with all the complications created by injuries that must've constrained time for the final cut, but no such issues can be found in it. The choice of footage and the way it's spliced together for each action sequence creates the perfect intended effect, whether it's the sleek yet rough bathroom brawl, to the London chase sequence, and that incredible helicopter duel that feels both so stylised yet realistic. You really feel like you've gotten the best out of everything the filming crew had to offer and that's a real tribute to the editing team.

WINNER: First Man 

Everything I've been praising about the films on this list is evident here. The 'action' sequences of the various takeoffs, journeys through space, and of course the moon landing, are all impeccably cut, and creating through the edit a real sense of just being there, almost like a fly on the wall or something. Equally impressive is the editing work in the buildup to these moments, I particularly love the cuts between the astronauts' faces and the Apollo 11 before takeoff. And in sequences like the claustrophobic Gemini VIII sequence you feel the anxiety and fear of the astronauts and even the cutaways to Earth only serve to aid this sense of tension. And the way the story is told and unfolds puts you so well into the mindset of Neil Armstrong, even in largely silent sequences, and the editing is another essential factor in that, particularly in that unforgettable crater scene.

Best Ensemble

10. Leave No Trace

It's mainly about the two lead performances, but frankly every member of the cast is pretty on point, Dale Dickey most notably, in creating the right sort of environment around the leading duo and their required adjustment.

9. Boy Erased

The central trio of Lucas Hedges, Russell Crowe, and Nicole Kidman are fantastic of course. But everyone else more than fulfils their roles, with the fellow gay camp conversion 'patients' all excelling in their various degrees of being affected by the program, Joe Alwyn and Sting as particularly nasty pieces of work, Joel Edgerton giving a strong self-directed performance as the camp counsellor, and honestly every small role is played to absolute perfection.

8. Spider-Man: Into the Spider-Verse

One of the best voice casts in recent memory. From Shameik Moore and Jake Johnson playing the main Spideys to pitch-perfection, to the goofy, endearing energy of the work of Hayley Atwell, Nic Cage and John Mulaney, and smaller but no less impactful work from Brian Tyree Henry, Mahershala Ali, and Liev Schrieber so perfect as Kingpin one would wish he was in it more and given more to do. Fantastic voice casting all around.

7. Bad Times at the El Royale

Not a perfect cast, as Chris Hemsworth while a lot of fun just doesn't quite live up to his character's built up reputation, and some like Dakota Johnson have a few iffy moments, but on the whole a great ensemble as per the usual 'strangers in one setting' expectation, with particular standouts being Cynthia Erivo, Jeff Bridges, and Lewis Pullman.

6. If Beale Street Could Talk

Like the above, this is a far from flawless cast in that there are some cases of somewhat distracting casting, and the actresses playing the ladies of the Hunt family aren't particularly good at handling the dialogue and verge on being pretty awful in their roles. It is a watertight ensemble overall though, with most of the actors making a lot out of very little, most notably Brian Tyree Henry.

5. Sorry to Bother You

Lakeith Stanfield holds the film together with his terrific leading turn, but the rest of the eclectic supporting cast, from Tessa Thompson to Steven Yeun, Jermaine Fowler to Danny Glover, Terry Crews to Omari Hardwick, the voices of David Cross and Patton Oswalt, down to the smallest bit role, and especially Armie Hammer, all contribute perfectly as either 'straight men' or further contributions to the madness of the film.

4. Shoplifters

A fantastic cast, where the family unit at its centre is just so beautifully realised by the performances. The somewhat deadbeat yet caring father, the loving yet compromised mother, the grandmother with a secret to hide, and their 'children', are all expertly played, with Lily Franky, Sakura Ando, and Kari Jo particularly effective as the father-wife-son trio at its centre.

3. Widows 

Would probably be my win if not for the fact that I'm not a fan of how Liam Neeson and Jackie Weaver's characters were implemented into the plot, and Robert Duvall is given too little to do. Now these are nitpicks. The central quartet of ladies are all played perfectly, in particular Elizabeth Debicki, as are Colin Farrell and Brian Tyree Henry as two opposing sleazebags running for office, and Daniel Kaluuya as an extraordinarily terrifying thug. There's also some smaller but memorable turns by great character actors like Kevin J. O'Connor and Garrett Dillahunt.

2. The Favourite

Down to the most insignificant servant in Queen Anne's court each role is perfectly cast, played, and utilised. The leading trio of ladies is of course impeccable, as are the men in the court, special mention to Joe Alwyn for some of the most hilarious dance moves and reactions to a hand job ever recorded on camera.

1. The Ballad of Buster Scruggs

I'll be covering two of the performances soon enough, but each segment of this anthology film contains great performances, perhaps most notably in 'The Girl Who Got Rattled' where Zoe Kazan, Bill Heck, and Grainger Hines give three beautifully sensitive, powerful portrayals of more complex 'archetypes' of the West. Other highlights: Jon O'Neill's terrifying, demonic 'bounty hunter' of sorts, Harry Melling's limbless artist who speaks only in poems, sonnets and famous speeches; Stephen Root as a pan-wielding bank teller; Willie Watson as a gunslinger with a beauteous voice.