All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
One of the most legendary directors of our time takes you on an extraordinary adventure.
Hugo is an orphan boy living in the walls of a train station in 1930s Paris. He learned to fix clocks and other gadgets from his father and uncle which he puts to use keeping the train station clocks running. The only thing that he has left that connects him to his dead father is an automaton (mechanical man) that doesn't work without a special key which Hugo needs to find to unlock the secret he believes it contains. On his adventures, he meets with a shopkeeper, George Melies, who works in the train station and his adventure-seeking god-daughter. Hugo finds that they have a surprising connection to his father and the automaton, and he discovers it unlocks some memories the old man has buried inside regarding his past.
Several years ago I read Brian Selznick’s novel, The Invention of Hugo Cabret, and whilst won over by the world created I was left bitterly disappointed by the story. Not long after, Martin Scorsese showed an interest in adapting the book for the silver screen and I was actually quite hopeful as film was the natural medium for a story about the magic of cinema. Yet, despite my optimism all of the novel’s failings are present in the adaptation and it ends up being just as frustrating and disappointing as it was back in 2007.
The production design is sensational, capturing a romanticised Parisian train station in all of its bustling glory. The cinematography is equally impressive and it isn’t…
I thought it would be fitting to watch as my hundredth film this month (Thanks again for the heads up, Dave Vis!) a film about one of the heroes of cinema, a film allegedly about the beauty of imagination and this medium I so love.
Scorcese's film looks absolutely stunning. It is perhaps the most beautiful film I've seen all year. From the opening shot onwards, you know you're in for a visual treat. The way Scorcese moves and twirls the camera through this Parisian train station is breathtaking and an absolute delight. There are a couple of these wonderfully flowing action sequences that made me wish I had seen it on the…
Scorsese is a filmmaker whose concern has always been to explicitly demonstrate his cinematic inspiration sources, from his frenetic and refreshing gangster films, to his disturbing thrillers, until the great documentaries he made about the influence of Italian cinema in his particular nostalgic vision. Hugo reiterates this phacet of his, creating an absorbing environment with fantastical elements that surpass reality even if it is not a fantasy film, in the same way that cinema made our dreams come true as well.
Even if it falls amidst an average realm of quality regarding his directing capabilities contrasted with his more challenging and innovative body of work (especially in the 70s and 80s), Hugo does not fail to impress at certain segments…
Let me start by saying that this film is not perfect. 3D is still not flawless. The frame-rates at which they make these films is far too low, and it shows whenever there is motion.
The acting here is also not perfect. Sure Sacha Baron Cohen is great, but Chloe Moretz does come across as if she is trying slightly too hard. But honestly, it doesn't matter.
It doesn't matter at all.
Its actually quite hard to believe that the man behind the camera is the man who brought us Taxi Driver and Goodfellas. There's no grittiness, and darkness here. Instead Martin Scorsese is showing us his deep love of film. Explaining to us, why he went into the film…
December Challenge Film #35
This morning, I woke up and something smelled...off. "Oh, the cat took a shit." I figured, so I went in to check. Nope, clean litter box. The plot thickens. After some wandering, I went down in the basement only to discover that sewage had backed up all over, the source of my dismay. My day literally started off shitty.
Random that I would tell that story at the start of a film review of Hugo, but the lingering odor as I awaited the arrival of the Plumber played a direct role in inspiring my choice of film. I didn't want something pessimistic and dour and cold. I needed something magical.
When Hugo was first released on…
There are some films that are just meant to be made by certain directors, as the hands of fate ensure that everything falls into its right place. When you think of a person who can emote the passion, experience and imagination that goes into a great cinema then Martin Scorsese is one of the first names to roll off the tongue.
Hugo is not only inspired by the true story of one of the great directors largely forgotten by the general public, it also serves as a reflection of Scorsese himself. Not exactly a telling of his own story but in a broader sense his wide-eyed enthusiasm exists in the young boy, a magical tale of how the fires of…
Scorsese's ode to silent cinema is so passionately argued, it's impossible to imagine its case being made by anyone else.
Exceptionally charming, well shot, great acting, interesting story.
This review may contain spoilers. I can handle the truth.
Amazing production value, but I couldn’t get engaged in the story, which felt simple and contrived. The father died because the basement of the museum exploded. Did I hear that correctly? Asa Butterfield gives an impersonal, distant performance that cannot hold the movie together. I did not have any interest in him as a character. Chloë Grace Moretz's character did not feel like a real person to me and while I thought Sacha Baron Cohen brought some much needed energy to the film, he didn't seem to fit either. The whole film was just odd. I slogged my way through the film and in the end perhaps I fell victim to the hype of all of the awards and nominations. However, that scene with Melies' wife was magical though.
Lingering question: Why did everyone have a British accent?
Upon rewatch, I'm not sure this holds up that well. All of the pieces for a great movie are there, from the beautiful production and visual design to some spot-on casting, but there's something holding them back and keeping them from really working together. For me, that issue would most likely be with all of the extraneous nonsense with Hugo and the stationmaster - it's clear that Scorsese's real interest is in the Melies storyline, and as a result the other story threads feel a little too rushed and thin. I've got some issues with Sacha Baron Coen's performance, too, as it feels extremely out of place in the rest of the film. Despite this, the rest of the movie…
A really sweet, charming tale with a sound story and a plethora of good performances and cameos. And I'm not ashamed to admit I got teary eyed when Christopher Lee popped up as the kindly bookshop owner. What a talent we have lost.
Didacticism: The Movie
[Originally written on my blog.]
Second viewing, up from 48, mostly because it looks far superior in 2-D—emphatic depth perception only diminishes the intended storybook quality of the elaborate sets, unless you spent most of your childhood reading pop-up books. Still can't get into the wide-eyed, self-congratulatory "magic of the movies" guff or Hugo's quest for a surrogate family; his notion that the automaton might somehow write a message from his dead father, even though Dad perished while the thing was still utterly broken, just feels like shameless pandering.
Uitgesteld herbekeken. Zeer charmante liefdesverklaring aan de film. Ik denk dat hij breed te bekijken valt, met een surplus voor filmliefhebbers. Geen muziek tijdens emotionele climaxen is altijd een goed teken. Breed gedragen vakmanschap.
beautiful tale of were we belong in this world and a love story to films.
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