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…
Like clockwork, we are all part of a much larger whole designed to connect with each other and work as one. It's a comforting thought but in a world without spare parts, what happens when you feel you've outlived your value? When you have no purpose? Thus one of the main themes of "Hugo" Martin Scorsese's first foray into PG territory. Hugo Cabret (Asa Butterfield) is a lonely orphan living in the walls of the Paris train station circa 1930's. While tending to the various clocks around the station, Hugo also has a habit of stealing cogs and widgets from an ornery toy shop clerk Georges (Ben Kingsley). He does this to fix a mechanical atomization his father left him.…
I like this film more then Taxi Driver. Should I give up my film card or whatever.
The kid from The Boy With the Stripped Pajamas, Hit Girl from Kick-Ass, Saruman from Lord of the Rings, Larry from A Serious Man and motherfucking BORAT in a family friendly film from the same guy who's brought us such family friendly classics like Taxi Driver, Raging Bull, The King of Comedy, Goodfellas, Casino, The Departed and The Wolf of Wall Street.
I actually enjoyed Hugo a lot more the second time around. I watched this years ago when it came out and it almost felt like a completely different film.
Michael Stuhlbarg should be in every movie ever.
The directing and visuals in this were absolutely gorgeous.
It's still my least favorite Scorsese, but I like it a lot.
A magical, sensational, phenomenal ode to the wondrous joy of cinema, or really a tribute to any medium that can transport us from our humdrum existences into another realm (as in Chloë Grace Moretz's love for books). Hugo, based off the astonishing book, The Invention of Hugo Cabret, by Caldecott Medal-winning illustrator Brian Selznick (highly recommended, by the way), is totally unlike anything Scorsese has done before or since, a complete departure for a man more comfortable in the home of mobsters, profanity-strewn films addressing machismo and Italian-American lives and satirical black comedies. This is a family film - almost nothing will offend you, which is totally different from what you expect from the man at the helm of Taxi…
Mostly unengaging despite Scorsese best efforts and its visual panache.
The screenplay, particularly in the hands of the young actors, is shrill and blunt, lacking in the revelations of character (toward acceptance, toward family, toward family) that the plot implies and I was yearning for. However, in Scorsese's hands there is something lovely flowing beneath it all: a real love letter to cinema.
On my previous viewings I hadn't quite grasped just how many camera tricks are utilised here, cinematographer Robert Richardson supporting the innate feeling of wonder that Scorsese is advocating. In purely cinematographic terms, the last thirty minutes are a dream - particularly when Ben Kingsley's "papa Georges" is transformed into Melies; the "vertigo" shot becomes an instance of transfiguration rather than disorientation.
There's always been a machismo…
"Georges, you've tried to forget the past for so long, but it has caused you nothing but unhappiness. Maybe it's time you tried to remember."
This feels more like a Jean-Pierre Jeunet film to me than one by Martin Scorsese. It's very whimsical. It's also extremely beautiful to look at, but it also feels like more than one film pasted together. The first half is definitely about young Hugo Cabret, an orphan living in a train station, winding its clocks and seeking out pieces to cobble together an old automaton found by his father years ago.
The second half is about Georges Méliès, the director of A Trip to the Moon, whose life consists of working in a toy shop…
I'm not a fan of period pieces, and the plot was waste, and the characters were uninteresting, so I'd recommend not wasting your time with this movie.
Well that was very disappointing. ‘Hugo’ is one of the most stupid, pretentious ideas for a film I’ve seen in a long while. It feels like someone decided to make a Jean-Pierre Jeunet film for children but without any of the visual flare or exquisite detail of those films, and then make the plot of a sort of homage to early cinema all wrapped up in a fanciful fictionalisation of the last days of Georges Melies. What modern child is going to go to their parents and say they really want to go to the cinema and watch a fanciful fictionalisation of the last days of Georges Melies? Answer: none of them, and indeed its poor box office has shown…
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
Complete list. :-(