Martin Scorsese directs this family adventure set in 1930s Paris, based on the novel The Invention of Hugo Cabaret.
Hugo (Asa Butterfield from The Boy in the Striped Pyjamas) is an orphan, with a natural talent for mechanics and engineering, who lives in the walls of a Paris train station. With the station's foul tempered inspector (Sacha Baron Cohen) on his tail, Hugo becomes entangled in a magical adventure when he encounters a broken robot made by his late father (Jude Law), a mischievious girl (Chloë Moretz, Let Me In) and the elderly owner of a toy shop (Ben Kingsley).
I apologise, we feel bad, but there's no trailer available. ~Ed.
When he’s not making quality films, Martin Scorsese has spent an admirable amount of time restoring them. His latest effort, a 1930s-set fantasy taking a Philip Pullman-ish approach to cinema history, combines both passions with aplomb.
In a pop-up book Paris beautifully rendered in shimmering CG, Hugo (Asa Butterfield) is a lonely orphan who lives in the walls of a train station, keeping the clocks wound while concealing his presence from gammy-legged inspector (Sacha Baron Cohen). We first meet our hero speeding through the Potter-esque platforms in order to steal parts from an embittered toymaker (Ben Kingsley) and repair the mysterious automaton his inventor father (Jude Law) left him. But could there be a connection between the two?
Well, yes… but it’s not Hugo’s underwhelming plight that Scorsese’s concerned with. Instead, he takes the opportunity to celebrate the pioneers of his beloved medium, revisiting long-forgotten films (1902’s A Trip To The Moon) in glorious 3D and remembering long-forsaken film-makers (Georges Méliès, the Lumière Brothers) along the way. At one point Hugo dangles precariously from a clock face like silent comedian Harold Lloyd (and Doc Brown!) before him, but don’t be fooled into thinking this is kids’ stuff.
Besides a seam of darkness that includes a show-stopping clockwork nightmare and Cohen’s ashamed admission: “I was injured in the war – it will never heal…” Hugo is aimed at Scorseses-in-the-making rather than the mass market. It’s not an adventure, but a loving tribute to all the broken things, and those who would fix them.
By Matt Glasby, Flicks.co.nz
The film certainly looks great, but it just didn't work for me. It has a lot of amazing imagery that seems to go nowhere. I looked up filmmaker Georges Méliès on Wikipedia. This film does follow the events of his life quite closely. Take out the kids and you could have a film about his life.
It may not work as a family film in an age of robots that are cars that are robots - with big guns... But for any cinephile, Scorsese's film is a delightful evocation and homage to the birth of cinema and special effects. Tipping its hat liberally to the pioneers of film, Georges Melies, the Lumiere Brothers, this plays like Christopher Nolan's THE PRESTIGE - for kids. Sasha Baron Cohen channels Peter Sellers' Clouseau and although some may find the plot a trifle trite and kids may find the pace a bit too slow - this is a fascinating fusion of the latest in 3D digital techno-wizardry and old fashioned cinema made on tuppence and number 8 wire. Like THE ARTIST, this is a throwback to a by-gone age. They literally don't make 'em like this anymore... except Scorsese has.
Charming! From the old style train and train stations/cafes and clocks, to the stunning scenery and old style clothes, one feels pulled into another world/age. Further capturing the imagination of the viewer with an unusual story, mystery and style. For me, it was a sheer imagery and imaginary delight! Some may find it is a bit drawn out and perhaps a bit lengthy, but I was only too happy to stick around, if not for the sheer escapism! Wonderful for both children and adults alike.
At the start of this film the viewer may well feel an extreme sense of excitement at the layer upon layer of complex imagery. It is fabulous and almost overwhelming. But after half an hour of it one is desperate for a good plot and great acting, and in these two areas this film is sadly lacking. Surely a director of Scorceses stature must have noticed how wooden his actors were and how dull the storyline was. If this was his homage to film a quick look at a vintage Preston Sturges movie would have reinforced that a great script and superb acting far outweigh the most complex special effects. If you see it do the 3D but don't expect more than a very sweet confection.
i really like this movie but even i have to agree i can not see children liking this movie but i really enjoyed it
The movie is breathtaking.
This is a great director's greatest love story.
It's a deeply felt piece of work, something which only Scorsese could have brought to the screen.
Hugo's use of the third dimension is exceptionally well thought out and essential to the film's ability to make a children's vision of the world come to life.
It’s serious, beautiful, wise to the absurdity of life and in the embrace of a piercing longing.
