All the films from all the editions, including those subsequently removed, presently totalling 1154. 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.
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…
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…
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…
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…
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…
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…
hugo es impresionante. no sólo en su "tema", en la historia que cuenta --la versión ficcionalizada de los años tardíos de méliès--, sino en su abundante técnica. un inspiradísimo scorsese que no le teme al digital, que comprende cabalmente --como méliès, pues, como cualquier cineasta visionario ha comprendido-- que la tecnología no es enemigo de nadie. al contrario: es de las mejores amigas del cine. son fascinantes sus preciosas tomas largas --esa introducción, por ejemplo; ¡qué montaje tan imaginativo! ¡qué alarde de construcción de espacios!--; sus abundantes y a veces obvias y otras no tanto referencias --la verdad la verdad la verdad: ¿no lloraron cuando le pasan de la tierra a la luna a los niños? pues entonces no se…
Zon Lusomundo Dolce Vitta
Me ha parecido magia pura, no puedo ser objetivo con una película cuando la misma me transporta, me hace reír, llorar y llevarme a mundos de fantasía. Actuaciones que van desde buenas a notables, ambientación de 10, música de 10, el homenaje a Melies es de 20.....
Ademas el 3D es el mejor de los que he presenciado, es usado como un elemento mas de las película y no como un recurso barato para agregar explosiones o hélices de helicópteros saliendo de pantalla (antes de la película pasaron el Trailer de "Viaje 2" en 3D y resulta penoso el uso del factor 3D).
Scorsese se ha marcado un homenaje a los orígenes del cine y la importancia de la preservación del arte, utilizando las técnicas mas modernas del séptimo arte, creando una película hija de su tiempo pero a la vez inmortal.
Una Obra Maestra y me quedo bien ancho y a gusto diciéndolo.
Averaged Score: 5.7
Hugo is nothing more than a masterfully shot film with a good story. When you are adapting a book, you most likely have a good story on lock down, so in Hugo, the visuals are the key just like in the novel itself. Some of the acting is great (Sacha Baron Cohen and Ben Kingsley) and other times quite annoying (Asa Butterfield is unconvincing and too childish at times and Chloe Grace Moretz is plain bad). Hugo works well and particularly well as a children's film. It deserved the awards it got, it's just lacking in depth.
It's only worth seeing for the incredible use of 3D. The first half is somewhat slow and meandering, and the second half, while interesting (the correlations of the 3D technology was fitting to the narrative) is somewhat more suited for a documentary. I can't imagine watching it in 2D.
I can't believe all the praise for this. This movie is self-indulgent kitsch. It features a sanitized, schmaltzy version of Paris, idiotic slapstick comic relief, and caricatures instead of characters, (honestly, Sacha Baron Cohen's villain belongs in a bad cartoon, and pretty much every female character serves as nothing more than a male fantasy love interest). It seems to me Scorsese is regressing in his old age.
A trifle too long but an enjoyable children's mystery story.
Oh dear. Cinema Paradiso this ain't. What intends to be a magical adventure into the history of cinema's innovative beginnings, ends up being a laborious exercise in trawling through a tiresome and uninteresting plot in order to get to the 'lets celebrate cinema history' point.
It's predictable script, sodden with unfunny and stale dialogue plods along, clinging on to disappointingly - and ironically - uninspired special effects and set pieces that most cinema-goers have seen before. The film sits somewhere between the styles of Jean Pierre Jeunet and Steven Spielberg, though without Jeunet's quirky humour or Spielberg's ability to inspire wonder in an audience of any age.
Where was Scorsese during production? We know he can command a film, inject…
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
- Ferris Bueller's Day Off
- Teen Wolf
- The Breakfast Club
- American Pie
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…