I'll concede this picture is not better than The Artist (Best Picture Oscar 2012), but it's damn much closer than the competing nominees.
Kevin Spacey in Margin Call (2011) goes through a number of inner changes with flying colours, and less make-up and wardrobe aids than Jean Dujardin (Actor in a leading role Oscar 2012).
Demi Moore in Margin Call shows a bit of leg and a big talent, both saying her lines and when she has no lines to say - which in my book is at least nomination material comparable if not better than, the cloning of an iron lady with due respect to Maryl Streep (Actress in a leading role Oscar 2012).
Paul Bettany is surprisingly good as a top villain, and that should have been awarded instead of keeping rewarding established names like Christopher Plummer (Actor in a supporting role Oscar 2012).
I'll not contend that Mary McDonnell's work in Margin Call, reduced to a marginal role of 3 minutes at best, was better than the much helpful support by Octavia Spencer in The Help (Actress in a supporting role Oscar 2012). And yet you won't forget her role, soon.
New York by night was never so well photographed than by Frank G. DeMarco, but he lost it to a common x-effects based work as Emmanuel Lubezki's The Tree of Life got it (Cinematography Oscar 2012).
John Paino and Robert Covelman created dull office spaces that we endure for over 100 minutes without feeling bored (24 hours in an office building, that's something!), allowing for fluidity of movement of actors and cameras alike. They create realism that is more difficult than the fantastic scenarios of Hugo by Dante Ferretti and Francesca LoSchiavo (Art Direction Oscars 2012 for Production Design and Set Decorator).
Carolin Duncan may have done a discreet job, but each actor and actress is dressed up - or down - according to the moment with precision and respect for him/her status in the organization - deserving as much as Mark Bridges with his glamorous The Artist (Costume Design Oscar 2012).
What did J.C. Chandor lack to deserve an award in comparison to the rather trivial (excuse me!) Michel Hazanavicius? (Directing Oscar 2012).
Pete Beaudreau did a wonderful job, so as you won't notice is presence in Margin Call - what would have been a good reason to award him instead of maybe Kirk Baxter and Angus Wall (Film Editing Oscar 2012).
I'd have elected Erin Ayanian and Fabiola Arancibia for their work on Demi Moore, rather the overdone makeup of Mark Coulier and J. Roy Helland on their Iron Lady (Makeup Oscar 2012).
Nathan Larson discreet, varied, mood creation, imaginative music certainly beats the expected score by Ludovic Bourse (Original Score Oscar 2012), and probably all other nominees, hands down.
Most of all, J.C. Chandor was robbed of award and nomination for his original screenplay that is what the people should be exposed to, to understand the reality of the last three years with a perspective that goes through 7 centuries, with a dialogue that all actors delivery naturally, because they were very careful written by someone who knew what he was writing about! Several dialogues of this screenplay should be mandatory study in Acting and Finance Schools. So, with due respect to the old hand of Woody Allen (Original Screenplay Oscar 2012) I'll contend that the nominee Chandor should have got the trophy.
Summing up:
1. I do not understand how come Margin Call did not get a single statuette. 2. I am confirmed in my conceited opinion that good movies are rarely rewarded by the Oscar crowd.
PS - This film is rated R, probably because of the repeated use of the F**k word, despite the characters saying the expletive or the verb are subjected to unbearable psychological and economic pressure. I appeal to all minors of 21 or 18 or whatever, to sneak in and watch this movie. You will know what your favourite TV station and your favourite political leader has not told you these last three years.
Kevin Spacey in Margin Call (2011) goes through a number of inner changes with flying colours, and less make-up and wardrobe aids than Jean Dujardin (Actor in a leading role Oscar 2012).
Demi Moore in Margin Call shows a bit of leg and a big talent, both saying her lines and when she has no lines to say - which in my book is at least nomination material comparable if not better than, the cloning of an iron lady with due respect to Maryl Streep (Actress in a leading role Oscar 2012).
Paul Bettany is surprisingly good as a top villain, and that should have been awarded instead of keeping rewarding established names like Christopher Plummer (Actor in a supporting role Oscar 2012).
I'll not contend that Mary McDonnell's work in Margin Call, reduced to a marginal role of 3 minutes at best, was better than the much helpful support by Octavia Spencer in The Help (Actress in a supporting role Oscar 2012). And yet you won't forget her role, soon.
New York by night was never so well photographed than by Frank G. DeMarco, but he lost it to a common x-effects based work as Emmanuel Lubezki's The Tree of Life got it (Cinematography Oscar 2012).
John Paino and Robert Covelman created dull office spaces that we endure for over 100 minutes without feeling bored (24 hours in an office building, that's something!), allowing for fluidity of movement of actors and cameras alike. They create realism that is more difficult than the fantastic scenarios of Hugo by Dante Ferretti and Francesca LoSchiavo (Art Direction Oscars 2012 for Production Design and Set Decorator).
Carolin Duncan may have done a discreet job, but each actor and actress is dressed up - or down - according to the moment with precision and respect for him/her status in the organization - deserving as much as Mark Bridges with his glamorous The Artist (Costume Design Oscar 2012).
What did J.C. Chandor lack to deserve an award in comparison to the rather trivial (excuse me!) Michel Hazanavicius? (Directing Oscar 2012).
Pete Beaudreau did a wonderful job, so as you won't notice is presence in Margin Call - what would have been a good reason to award him instead of maybe Kirk Baxter and Angus Wall (Film Editing Oscar 2012).
I'd have elected Erin Ayanian and Fabiola Arancibia for their work on Demi Moore, rather the overdone makeup of Mark Coulier and J. Roy Helland on their Iron Lady (Makeup Oscar 2012).
Nathan Larson discreet, varied, mood creation, imaginative music certainly beats the expected score by Ludovic Bourse (Original Score Oscar 2012), and probably all other nominees, hands down.
Most of all, J.C. Chandor was robbed of award and nomination for his original screenplay that is what the people should be exposed to, to understand the reality of the last three years with a perspective that goes through 7 centuries, with a dialogue that all actors delivery naturally, because they were very careful written by someone who knew what he was writing about! Several dialogues of this screenplay should be mandatory study in Acting and Finance Schools. So, with due respect to the old hand of Woody Allen (Original Screenplay Oscar 2012) I'll contend that the nominee Chandor should have got the trophy.
Summing up:
1. I do not understand how come Margin Call did not get a single statuette. 2. I am confirmed in my conceited opinion that good movies are rarely rewarded by the Oscar crowd.
PS - This film is rated R, probably because of the repeated use of the F**k word, despite the characters saying the expletive or the verb are subjected to unbearable psychological and economic pressure. I appeal to all minors of 21 or 18 or whatever, to sneak in and watch this movie. You will know what your favourite TV station and your favourite political leader has not told you these last three years.