Best Sound Mixing: Ranking Every Oscar Nominee

Yesterday, we focused on the sounds created for films with the Best Sound Editing category. Now, we are looking at how every sound is pieced together to create one sonic palette. This is the Best Sound Mixing category, and, boy, is this year tough. I can honestly say that every nominee here makes at least a bit of sense. Were there some snubs? Sure. We will get into one very shortly. For the most part, even the “weaker” nominees here are understandable. The balancing of sounds — artificial and organic — is one hell of a task that we hope none of our readers ever take for granted. Thus, allow us to detail these five (well, technically six) features, and their worthiness of this award.

Here are your nominees for Best Sound Mixing, ranked from worst to best.

Biggest Snub: Uncut Gems
With all of the audible hysteria going on in Uncut Gems, it’s a miracle you can make any sense of it at all. With a minimum of ten thousand voices screaming different things at once, you can still follow along. Let’s also not forget the more creative uses of sound mixing, like instances where Howard (or someone else) zones out, and Daniel Lopatin’s score overtakes your ears; you can still clearly hear what other people are saying (say, a disgruntled employee) well enough to not miss any part of the story telling. Even in quieter moments like the auction scene, you can hear the auctioneer, the mumbling bidders, and everything else so well. Much of Uncut Gem’s anxiety comes from the swirling sounds that overtake your brain.

5. Ad Astra: Gary Rydstrom, Tom Johnson, Mark Ulano

It’s a shame to place the only nomination Ad Astra got as last. I mean, Ad Astra’s sound mixing is great, but you really don’t get too many instances where you notice this. Because the film is somewhat lopsided with its content (brief glimpses of world building saved for mere minutes), you only get spoonfuls of truly powerful examples of sound mixing. Yeah, you get the balance of score and delicate sounds from outer space, but it isn’t anything that will stand out in this category. Ad Astra is great for a number of reasons. It’s strange that this is the only nomination it got. Even The Lighthouse’s sole nomination for Best Cinematography is more justifiable (strange, alienating film with fantastic photography). Huh.

Our review of Ad Astra

4. Joker: Tom Ozanich, Dean Zupancic, Tod Maitland

Even though we think Joker’s sound mixing job is better than its sound editing job, it’s still relatively low on this list only because the competition is fierce. There are more instances in Joker that showcase the sound mixing wizardry at work than in Ad Astra. Forget the dynamic scenes like the mob breaking out, or the climactic sound stage scene. Even Arthur’s workspace or stomping grounds are given just enough of an auditory backdrop for you to know why his head feels so cluttered (or the occasional antithesis: empty). We know that many of Joker’s nominations are from awards season mass hysteria, but this sound mixing nod actually seems okay.

Our review of Joker

3. 1917: Mark Taylor, Stuart Wilson

Making a third-person unedited perspective of a World War I battleground is tough, and part of that illusion comes from what you hear in adjacent to what you see. 1917 does a great job at pulling you in. You get enough of a thrill visually, but it’s the audible cues that begin to make your head spin; you see what you see, yet there is a sound from afar that you can’t turn your head to face. As 1917 gets more frantic, sound begins to play a bigger part. Silence is no longer solace. You await each and every booming noise, signifying a step closer to potential death. When you begin to have sounds pan from side-to-side, that’s when 1917 really begins to show off.

Our review of 1917

2. Ford v Ferrari: Paul Massey, David Giammarco, Steven A. Morrow

Yep. Here’s Ford v Ferrari again, doing what it is great at. The sound editing was definitely a highlight of the year, and the sound mixing is also fairly strong. To make all of these crunchy, delightful sounds work, you need some wise balancing. The Ford v Ferrari crew were able to pull off the blend of car engines revving, crowds cheering, announcers spewing, and lead characters contemplating with ease. Like a well made car, the sound mixing in Ford v Ferrari was predictably fancy, and still an absolute pleasure to take it all in.

Our review of Ford v Ferrari

1. Once Upon a Time in Hollywood: Michael Minkler, Christian P. Minkler, Mark Ulano

Quentin Tarantino has always been obsessed with nostalgic sounds, and they have never been better replicated than the cases found in Once Upon a Time in Hollywood. The radio spots float through the air like sound wave ghosts. Californian traffic just coats in and out of your ears, especially with Cliff Booth’s hectic driving taking the lead spot of this cacophony vehicular orchestra. When the Manson kids hit the fan in the final act, the barrage of sounds (and songs) are all timed like a demonic ballet. Even forgetting all of these moments, there are finer details to consider. The small homages that a trained ear and ‘60s obsessive can spot (Sharon Tate getting excited to see Mama Cass at the Playboy Mansion, for instance). There are countless audible easter eggs hidden inside the already astounding auditory tapestry. For a movie goer, this is a fun time. For a pop culture, retro fanatic (like ourselves), this is an audible dream come true.

Our review of Once Upon a Time in Hollywood

Who we want to win: For selfish reasons, Once Upon a Time in Hollywood. For sensible reasons, Ford v Ferrari or 1917.

Who we think will win: Either 1917 or Ford v Ferrari have the best odds, and it all depends on how the upcoming Oscar race weeks pan out.

Tune in tomorrow for our next Academy Award category! We’re reviewing every single nominee.