The American Cinema Editors nominations for the Eddie Awards announced on Wednesday (December 11) include our Oscar frontrunner for Best Film Editing, “The Irishman,” along with three of the other four films we’re predicting to reap bids in that race: “Ford v Ferrari,” “Once Upon a Time in Hollywood” and “Parasite.” While the WWI epic “1917,” which is made to look like one continuous shot, was snubbed by the guild we expect it to be the fifth Academy Awards contender.
The ACE Eddie Awards divide their prizes for editing between dramas and comedies/musicals. “Ford v Ferrari,” “The Irishman” and “Parasite” contend here in the drama race, which is rounded out by “Joker” and “Marriage Story.” Facing off against “Once Upon a Time in Hollywood” on the comedy side are “Dolemite is My Name,” “The Farewell,” “Jojo Rabbit” and “Knives Out.”
In 1992, the Eddies went from three to five nominees (matching that of the Oscars) and in 2000 it split the award in two, with five nominees for each of drama and comedy/musical. Over the past 26 years, 120 of the 135 Academy Awards nominees for Best Film Editing had first reaped an Eddie bid; that is an accuracy rate of 89%.
The Golden Eddie winners will be revealed on Jan. 17 during a ceremony at the Beverly Hilton. Oscar watchers are sure to be in attendance as they are keenly aware that the American Cinema Editors has a proven track record as one of the best indicators of which film takes home the Best Picture Oscar.
Since 1990, the film that came up with one of the ACEs went on to win the top prize at the Academy Awards 17 times. And in nine of the 12 years when the ACE barometer was wrong, at least one of the Eddie champs was a contender for Best Picture. Last year both ACE winners — the drama “Bohemian Rhapsody” and the comedy “The Favourite” — numbered among the Best Picture nominees to lose the top Oscar to “Green Book.”
In 2008 neither of the Eddie winners — The Bourne Ultimatum” nor “Sweeney Todd” — made the final five contenders for Best Picture at the Oscars, and in 2000 the same fate befell “The Matrix” and “Being John Malkovich.” And prior to the split, 1990 ACE winner “Glory” was shut out of the Best Picture line-up.
Best Edited Feature Film (Dramatic)
“Ford v Ferrari,” Michael McCusker, ACE & Andrew Buckland
“The Irishman,” Thelma Schoonmaker, ACE
“Joker,” Jeff Groth
“Marriage Story,” Jennifer Lame, ACE
“Parasite,” Jinmo Yang
Best Edited Feature Film (Comedy)
“Dolemite is My Name,” Billy Fox, ACE
“The Farewell,” Michael Taylor & Matthew Friedman
“Jojo Rabbit,” Tom Eagles
“Knives Out,” Bob Ducsay
“Once Upon a Time in Hollywood,” Fred Raskin, ACE
Best Edited Animated Feature Film
“Frozen 2,” Jeff Draheim, ACE
“I Lost My Body,” Benjamin Massoubre
“Toy Story 4,” Axel Geddes, ACE
Best Edited Documentary (Feature)
“American Factory,” Lindsay Utz
“Apollo 11,” Todd Douglas Miller
“Linda Ronstadt: The Sound of My Voice,” Jake Pushinsky, ACE & Heidi Scharfe, ACE
“Making Waves: The Art of Cinematic Sound,” David J. Turner & Thomas G. Miller, ACE
Best Edited Documentary (Non-Theatrical)
“Abducted in Plain Sight,” James Cude
“Bathtubs Over Broadway,” Dava Whisenant
“Leaving Neverland,” Jules Cornell
“What’s My Name: Muhammad Ali,” Jake Pushinsky, ACE