In the lead-up to the 86th annual Academy Awards on March 2, HitFix will be bringing you the lowdown on all 24 Oscar categories with multiple entries each day. Take a few notes and bone up on the competition as we give you the edge in your office Oscar pool!

Back when it was simply named Best Sound (and when its sister award, Best Sound Editing, had only three nominees), Best Sound Mixing was seen as the more prestigious of the two prizes -- though still, many people are unsure as to what the difference between them is. By usually compiling heavily overlapping fields, the Academy rarely helps to establish the distinction, and so it is this year: four of this year's Best Sound Mixing nominees are also up for Best Sound Editing, and in another Academy tradition, they're all action fare of some sort. The fifth is a music-based film, though not of the type (or volume) that more routinely features in this race. Meanwhile, two sound mixers are up for two films apiece.

The nominees are...

"Captain Phillips" (Chris Burdon, Mark Taylor, Mike Prestwood Smith and Chris Munro)
Paul Greengrass's films are always robust on the sound front, and "The Bourne Ultimatum" was a semi-surprise winner in both categories in 2007. The "Captain Phillips" team includes Chris Munro, a former winner for "Black Hawk Down" who also scored an additional nod for "Gravity." His probably his own biggest competition, too: "Phillips" is a layered sonic showcase, starting stealthily, with the metallic clatter of the Maersk Alabama, and the surrounding whoosh of the ocean echoing in viewers' ears, before ramping up to its panicky, gunshot-laden finale. In most other years, that'd be enough for the win, but in most other years, it wouldn't be up against...

"Gravity" (Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro)
Alfonso Cuarón's space blockbuster happens to be the film on which both this year's double nominees in the category converge: not just Munro, but six-time nominee Skip Lievsay, also up for "Inside Llewyn Davis." In giving "Gravity" the win, then, many voters probably won't be aware that they're killing several birds with one stone. There are, after all, more compelling reasons to vote for "Gravity," beginning with its rather mesmerizing sound mix, which plays cleverly on the muted sonic reality of outer space, while escalating at points to a claustrophobic headspace roar. There's fine work throughout this category, but none that works quite as inventively with perspective or inner/outer balance. (Check out our interview with Skip Lievsay here.)

"The Hobbit: The Desolation of Smaug" (Christopher Boyes, Michael Hedges, Michael Semanick and Tony Johnson)
It was something of a surprise to see the second part of Peter Jackson's latest Middle Earth trilogy show up in the sound race -- though all three "Lord of the Rings" film were nominated in this category, last year's "An Unexpected Journey" was not, and I assumed its Oscar fortunes would be a case of diminishing returns. (After all, the production designers and makeup artists couldn't be roused this year.) Still, "Smaug" is the more action-heavy chapter, so there's some logic to its appearance here. It's not exactly innovative, but it's a typically dense, rumbling soundscape from Jackson's regular, expert team: Boyes, Hedges and Semanick previously won this category for "The Lord of the Rings: The Return of the King" and "King Kong." It'd be something of a shock to see them up on stage again, but it'll be interesting to see how the third film fares.

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Guy Lodge is a South African-born critic and sometime screenwriter. In addition to his work at In Contention, he is a freelance contributor to Variety, Time Out, Empire and The Guardian. He lives well beyond his means in London.