2 hours, 6 minutes
PG Parental Guidance Suggested.
for mild thematic material, some action/peril and smoking
Ben Kingsley ...
Sacha Baron Cohen ...
Asa Butterfield ...
Chloë Grace Moretz ...
Ray Winstone ...
Emily Mortimer ...
Christopher Lee ...
Helen McCrory ...
Michael Stuhlbarg ...
Frances de la Tour ...
Richard Griffiths ...
Jude Law ...
Based on a novel by Brian Selznick, this is the story of an orphan boy abandoned in Paris in the 1930s. Hugo Cabret (Asa Butterfield) was raised by
his father (Jude Law) to be a
clockmaker, just as his father was, and the two of them shared a private
language defined by this world of clockwork and machines. Hugo's
father brought home one item in particular that he found collecting dust
in storage at a museum, and together, they worked to restore this
automaton, a mysterious mechanical man, to working order. When his
father died, the project was still unfinished, and since then, Hugo's
been hiding in the massive train station, working on it, doing whatever he has to do to stay free.
Constantly hiding from the Station Inspector (Sacha Baron Cohen), who
would love nothing more than to send him to an orphanage, Hugo befriends a toy seller, Georges Melies (Ben Kingsley) with a secret past. The first half of the film gradually draws Hugo and Papa Georges
together, and it's Isabelle (Chloe Grace Moretz)
, a young girl
who makes it her mission to help Hugo, who becomes the bridge
between them. She befriends Hugo when he's caught stealing from the toy
booth, and she slowly draws out the details of Hugo's story, never
realizing that she's living with the answer to Hugo's mystery.
the entire first half of the film, director Martin Scorsese takes tangible pleasure in
laying out the geography of Hugo's secret world inside the walls of the
train station, and in using his camera to fly around this incredible
location. Although Hugo is an entirely artificial
movie, that's part of what makes it so beautiful.
It's in the second half of the film that it goes from good to great,
and it also reveals itself as one of the most intensely personal films
Marin Scorsese has ever made, as central to an understanding of him as an
artist as any of his early classics like Mean Streets or Raging
Bull. This is a deliberate
choice, in a movie built on planes and a pop-up storybook city where you can
get lost between the cogs in the clockwork. Hugo is simply a magical, masterpiece of imaginative film making.
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