be considered enough? Per Hallberg and Karen Baker Landers won this category in 2007 for "The Bourne Ultimatum," which took both sound categories and has been seen as a similar case study.

Finally, there's "Zero Dark Thirty," which, after picking up a Cinema Audio Society nomination, was ultimately skipped over in Best Sound Mixing and was just shortlisted here for Paul N.J. Ottosson (who served as both re-recording mixer and sound editor on the film). Three years ago he walked away with a pair of trophies in those disciplines for Kathryn Bigelow's "The Hurt Locker," but this time around, the film hasn't been as widely accepted. Indeed, a dose of controversy has kept any flames of momentum doused along the way. After walking away from the MPSE Awards empty-handedlike "Django Unchained," it would appear this one is just happy to be nominated.

Will Win: "Life of Pi"Could Win: "Argo"Should Win: "Django Unchained"Should Have Been Here: "The Raid: Redemption"

What's your bright idea about how the sound editing category will unfold? Please enlighten us in the comments section below because it's as up in the air as it gets.

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Kristopher Tapley has covered the film awards landscape for over a decade. He founded In Contention in 2005. His work has also appeared in The New York Times, The Times of London and Variety. He begs you not to take any of this too seriously.

I can't help but think that you're forgetting how quiet a film War Horse was: