One of the most legendary directors of our time takes you on an extraordinary adventure.
Martin Scorsese's 5-time Oscar winning 3D family adventure set in 1930s Paris, based on the novel The Invention of Hugo Cabaret.... More
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).Hide
YOUR RATING & REVIEWWATCHLIST
BY Matt Glasby Flicks Writer
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.... More
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.Hide
The Peoples' Reviews
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BY Weds_Loafers superstar
Combining... More 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.Hide
BY BrionyJae superstar
BY RealityCheck superstar
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... More 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.Hide
BY adamatdramatrain superstar
BY TheaterofCommon superstar
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.Hide