Martin Scorsese's 5-time Oscar winning 3D 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).
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
"Hugo" Yesterday. just four of us viewed this winner of five Oscars - all in technical fields. It is a 3-D fantasy that is great movie entertainment. While, to this curmudgeonly embryonic geriatric, it is slow moving at times, it is the delightful story of two teenage friends who resurrect the memory and reputation of a famous pioneer French filmmaker. Set in Paris in the early 1900s, with a slight Dickensian flavour of orphans and petty theft, the sets and costumes are excellent. Combining superbly well, realism, fantasy, special effects, stunts and great sound, this is a must-see for children and families alike - and for all adults who have even the faintest trace of 'the child' left in them. We gave this movie 4½ stars out of 5.
Whatever you think you know about Hugo... it is far more amazing than you could ever expect. The whole storyline was so beautifully dealt with, easily stepping away from what could have been a cliched 'message'. Asa Butterfield... gosh, he was just AMAZING. Such a young actor, full of talent. His counterpart, Chloe Moretz, was also a joy to watch. Seeing it in 3D is definitely worth while, as the cinematography is just stunning, as are the location shots of Paris and the clock tower scenes. Honestly, you'll come away from this film feeling awed and marvelled. Unlike the theme of Hugo, Scorsese's film needs no fixing - it's absolutely perfect.
Hugo 3D I wasnt expecting much due to all the hype, and thanks to 'AI', 'Sexy Beast', 'Bruno' and 'Harry Potter' actors it truely tugs at you in all the right places. This emotional roller coaster has great direction and acting. Now I can see why ther was such a hopla about it. Only let down by some of the kids acting,but thats normal for kids, still held up its end. On many levels it delivers, with the automoton used for re-occuring symbolism and of course deeper features throughout. Fully worth watching in 3D, it helps put you next to the characters, not just watching. Genre : Youth, adventure, family, discovery 5/5 : Found it just fantastic and wonderful to watch, I'd happily watch it again.
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.
I was delighted to see Scorsese was making a family film, but as with fellow Icon Steven Spielberg's recent Tin-Tin was apprehensive to learn it would be in 3D. The results however were spectacular; Scorsese has brought his mastery to the art of 3D with the magical Hugo. Set in 1930's Paris, Hugo is the spellbinding tale of newly orphaned Hugo Cabaret (Asa Butterfield). The death of his clockmaker father leads him to live with his alcoholic uncle, a live-in caretaker of clocks at a Parisian railway station. His only possession, a mechanical man (automon) left by his father, leads to a 'chance' meeting with station toy salesman Georges Melies (Ben Kingsley) and his god daughter Isabelle (Chloe Grace Mortez). The mystery of the Automon takes them all on an adventure of discovery. Aside from illuminating cast, the real stars of this picture are Scorsese's production team. For they have been his loyal subjects for many decades, as long as 33 years in the case of editor Thelma Schoonmaker (Raging Bull). Thelma has acted as critical censor for Scorsese's vision during many of his finest works, this relationship continues with her cut of Hugo. Along with cinematographer, Robert Richardson (Inglorious Bastards), Thelma tells a powerful visual story that compliments the labyrinth-like narrative perfectly. They are also able to pay homage to the pioneers of their craft with an incredible remake of some original moving pictures. It should be noted that Scorsese entered into his first 3D film with the same mentality he has for last 40years, he stuck with a crew he loves despite their apparent lack of experience in the format, a commendable leap of faith for all involved. I'm beginning to realise that I might have been a bit harsh on the recent 3D resurgence. I was positioning my prejudice on a life time of 2D cinema, a format that I love passionately. To me the 3D film has always been somewhat of a gimmick, but as film makers like Scorsese adapt to the technology, develop techniques and push the boundaries, it's fast become an outlet for exceptional creativity. As much as I despise the capitalist elements to Hollywood, in this digital age I understand the pressures major film studios are under, a pressured to respond to the times, especially during economic turmoil. Films are complex beasts to construct; each one is essentially a small business selling a single product, a product for which the customer dictates the demand. If your product is rubbish (or even perceived by the majority to be) the customer will ensure that it fails. So when the producers (CEO's) are calculating the thousands of factors involved in running their businesses, they now must look directly at their competition and ask - Are they doing it in 3D? - S**t, maybe we should too.
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.
We've been told the NZ release date for this flick is Thursday, 12th Jan 2012.
Release date: January 12th 2012.
We haven't received times for this movie in this location yet. However these are updated as cinemas announce them, so check back soon. Hopefully the lovely cinemas in your location will choose to play it shortly. ~Ed.
