Previously, in Jack’s 2019 Oscar coverage…
January 28 – Best Picture
February 4 – Supporting Actress
February 7 – Leading Actor
February 11 – Supporting Actor
February 14 – Leading Actress
February 18 – Director
February 19 – Original Screenplay
February 20 – Adapted Screenplay
February 21 – Cinematography
February 24 – Final Predictions on Oscar Night
EDITING – NOMINEES
Bohemian Rhapsody, John Ottman
Vice, Hank Corwin
The Favourite, Yorgos Mavropsaridis
BlacKkKlansman, Barry Alexander Brown
Green Book, Patrick J. Don Vito
Who will win: Vice, Hank Corwin
Who could win: BlackKKlansman, Barry Alexander Brown
Who should win: Vice, Hank Corwin
Who should be here: First Man, Tom Cross
As of press time, this category appeared to be a two-man race between Hank Corwin (Vice) and BlacKkKlansman (Barry Alexander Brown). Of the two, BlacKkKlansman has the most heat on it for a potential Best Picture win, which often helps lift films in the so-called “technical” award categories. Brown pulled off something of a feat in BlacKkKlansman, managing to deliver a 1970’s look to a film that also needed to appear relevant today with the footage from the 2017 Charlottesville riots, and more. The cuts also helped impart humor at critical times.
However, the clear winner in my mind is Hank Corwin’s work in Vice. While this is, by far, the showiest editing on the list, that doesn’t reduce its quality at all. The film, much like Adam McKay’s previous outing The Big Short, effortlessly jumped around in time to deliver its themes, while also stopping to explain complicated areas, all without seeming too contrived or fidgety. Plus, the fake mid-film credits sequence is probably the first time in history that the editor got to write their own joke into the final product.
The three remaining films in this category all have solid editing, but none of them have the challenges/success of the above three, and are more straight, linear stories. If this were my list, Tom Cross would’ve made the Top 5 over Yorgos Mavropsaridis. Director Damien Chazelle’s filming style in First Man was so up close and personal that it could have been a disaster in the hands of just any run of the mill editor, but Cross really made the film work.