One of the year’s most complex achievements in film editing, I think, is one likely to go unrecognized at Oscar time: Eric Zumbrunnen’s meticulous cutting of “Her,” which goes a long way toward creating a convincing character and a relationship — more or less literally — out of thin air. In the last part of the LA Times’s excellent “Five Days of ‘Her'” series, Zumbrunnen discusses the challenges the film posed, notably the tricky process of replacing a key performance in post-production, as well as the decision over whether or not to feature a physical representation of Scarlett Johansson’s Samantha on screen. Fascinating stuff. [LA Times]

Conor Oberst tried out for the title role in “Inside Llewyn Davis,” apparently. [The Guardian]

David S. Cohen argues against the notion that “The Wolf of Wall Street” glorifies criminals. [Variety]

Joe Reid, meanwhile, argues that the film condemns and celebrates them, and wonders if the film’s critical defenders are a bit too aggressive. [The Wire]

Melena Ryzik profiles two Oscar-shortlisted documentaries banned in their home countries: “The Square” and “Pussy Riot: A Punk Prayer.” [New York Times]

Wesley Morris joins the increasingly large anti-“Saving Mr. Banks” contingent, railing against the film’s “appalling chill.” [Grantland]

“Banks” screenwriter Kelly Marcel, meanwhile, describes the scene in the film that she found toughest to write. [Vulture]

R. Kurt Osenlund on the bright Oscar prospects of “American Hustle,” which he describes as the highlight of a year “replete with great trash.” [Slant]

Andy Hoglund on why 2013 was secretly the year of Spike Jonze. [The Film Experience]

I suppose this is an honor of sorts: the first “Hobbit” film was last year’s most-pirated title. But who knew that many people were keen to see “Gangster Squad?” [Screen Daily]