I suppose it’s probably a good thing that these didn’t come out before the Oscars as they would have likely caused confusion, but the clear result is that The Revenant did better than most were expecting, which means it’s most likely headed for the Oscar win over Mad Max: Fury Road in both sound categories at the Oscars.

The Awards

Best Sound Editing: Sound Effects and Foley in a Feature Film

TIE:
Mad Max: Fury Road (Wesley, RU:Thomas)
The Revenant (Thomas, RU:Peter)

Best Sound Editing: Dialogue and ADR in a Feature Film

Bridge of Spies (Peter)

Best Sound Editing: Sound Effects, Foley, Dialogue, ADR and Music in an Animation Feature Film

Inside Out (Wesley, Peter, Thomas)

Best Sound Editing: Sound Effects, Foley, Dialogue, ADR and Music in a Feature Documentary

Kurt Cobain: Montage of Heck

Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in a Feature Foreign Language Film

Son Of Saul (Wesley, Peter, Thomas)

Best Sound Editing: Music in a Feature Film

Star Wars: The Force Awakens (Wesley, Thomas)

Best Sound Editing: Music in a Musical Feature Film

Love & Mercy (Peter, RU:Wesley, RU:Thomas)

Motion Picture Sound Editors Data

Year Founded: 1953
First Awards: 1953 (63)