हूगो

Saw it today in a sneak preview today at the Director's Guild in LA. James Cameron who was there professed it's a masterpiece and the best 3D to date. And he's right on both fronts. The film is exquisitely crafted. The cinematography and set design is likely going to take home a couple gold guys. It's a film lover's dream movie. As with many of Scorsese's films, it's an inspired film history lesson along side of being a dreamlike children's fable. A really unique combination that will work for the film enthusiasts and discerning family's with kids. Maybe a bit long for broad audiences with very little kids, but the images are so enchanting, it should win over most everybody. Sasha Baron Cohen is a brilliant and hilarious standout as the twitchy constable. It should be very well received just on the 3D alone.

"If you've ever wondered where your dreams come from, just look around. This is where they're made."

Hugo Cabret's story was told so well that it felt like you were right there with him on his stunning adventure.

For those unfamiliar, this is the story about a young boy named Hugo. He lives inside the walls of a train station in Paris in the 1930's. His father dies, leaving behind a mysterious automaton that, when fixed, can write. Hugo makes it his mission to fix it, believing that it will reveal a message from his father. With the help of an eccentric girl named Isabelle, he tries to uncover a magical mystery about the old man at the toy booth (Isabelle's godfather) and enchanting early films.

I had been looking forward to this film for a very long time, and I was not disappointed at all. I was a bit unsure about the 3D at first, but it turned out to be superb. Every single object became part of the story, and the audience became immersed in this beautiful world created by Martin Scorsese and Brian Selznick. While every member of the cast was brilliant, there are two in particular I'd like to point out.

First, Asa Butterfield as Hugo. He carried the film with perfection and gave a truly incredible performance. His acting was very natural--you could hardly tell he was acting! He did an amazing job of bringing life to a complex, lost, sad character. Asa is one of the most talented young actors I've ever seen; a very likely Oscar nomination in his future.

Last (but certainly not least) is Chloe Grace Moretz. She is another young performer that never fails to amaze me. Chloe nailed the British accent and brilliantly portrayed a bright, energetic Isabelle.

This movie has it all: beautiful visuals, super-talented cast, magic, love, heart, feeling, emotion. Best Picture Nomination for sure, and quite possibly others. Overall, this movie is a must-see. It was the most enjoyable theater experience that I've ever had. The entire theater broke into applause once it ended. This film has something for all ages, and it's really something special.

Especially if you love adventure, mystery, wonder, and have a bright imagination, you will fall in love with this film just like I did.

"Come and dream with me."

Martin Scorsese's HUGO is a family movie that will probably only cater to a niche crowd: people who appreciate movies as art (e.g. cinema snobs, though I use the term endearingly). I'm not saying it won't appeal to the general masses. It's still an interesting story, wonderfully acted, and packed with talent both in front of and behind the camera. But let's face it: this isn't your average movie, it's a love letter. Scorsese has been a vocal supporter of restoring old movies in hopes they'll be saved from oblivion (rightfully so) and this movie, based on a children's book by Brian Selznick, is his method of beautifully pleading his case before millions of people who've probably refuse to watch black and white movies on the basis that they're, you know, black and white (yes, I know those sorts of people). HUGO is a film meant to bring out attention to the movies long-forgotten and remind us of the magic behind them, told through the adventure of a young boy named Hugo Cabret. Hugo is an orphan whose father died in a museum fire, and he lives behind the walls of a Parisian train station. When he's not busy with his job of keeping the station clocks ticking, Hugo spends his time repairing an old automaton his father rescued from museum storage. An encounter with a curmudgeonly toy store owner and his granddaughter Isabelle will send Hugo on a journey to repair the automaton and discover its long-hidden secrets.

As I mentioned, this movie will only really appeal to certain people. Scorsese fans might be put off by the fact that this film is a family-friendly adventure; it doesn't exactly fall in line with Scorsese's usual subject matter. The family crowds will probably enjoy it, but younger children will likely be put off by it's slow pacing and lack of excitement. It's not so much an adventure as a journey of discovery, and little kids might not find themselves too involved in the story. My own daughter (4, going on 5) gave it an honest try when we sat down to watch it and made it 40 minutes or so before she fell asleep. Unfortunately, HUGO will probably be one of those films that fades into the background (if it hasn't already) and find most of it's loving coming from the film school crowds. The movie incorporates a loose interpretation of the life of Georges Méliès, a stage magician and an early innovator in world of cinema who realized the potential for the new medium of storytelling. At a time when most "movies" were just real-world situations recorded to celluloid (such as the famous train pulling into the station), Méliès created fantastic stories and mythical tales to entertain, filling his films with special effects and dramatic costuming. The movie focuses on the fact that so many of Méliès' films were lost over time and the tragedy of these classics from one of the earliest, most important filmmakers, ceasing to exist.

Scorsese makes his message perfectly clear in the final half of the movie, which happened to be my favorite part of the film. Ben Kingsley is Papa Georges (Méliès) and, in the film, he is a defeated man who mourns the death of his legacy following World War I. Kingsley is perfect here and the highlight of the movie. The children in the film, Asa Butterfield and Chloë Moretz, do a serviceable job but, as is usually the case with younger actors, their performances come off as forced and wooden most times. Even Moretz, who's performances I freakin' loved in KICK-ASS, doesn't feel real here. Maybe it's just that Scorsese isn't accustomed to working with younger talent and wasn't able to bring out the best in them, but it's a shame because the two of them are the key players in the movie. There's a handful of other minor roles filling out the film with talent: Christopher Lee, Ray Winstone, Jude Law, etc. My favorite would probably be Sascha Baron Cohen (yes, Borat) as the station inspector. With his Doberman patrolling by his side and the frame providing support for his bum leg, he was almost cartoonish. I loved him, and he was more than capable of toning down his usual eccentricity. HUGO is a movie with a lot to love, even more if you're a cinema snob. I really enjoyed it, but a slow first act and weak performances from the kids mean it's far from perfect. HUGO has my full recommendation for anyone who might want a glimpse into world of a true film-lover.

There must be something unifying in our globes collective consciousness, as 2011 saw two films that looked back at the cinematic past. Strangely, it took a French film maker, Michel Hazanavicius, to release a movie that pays homage to early, silent American cinema (The Artist). Conversely, Martin Scorsese, a well-known cinephile, delights with his love of early European silent cinema, in his often beautiful 'children's' film, Hugo.

Set in 1930's Paris, the main focus of this cinematic love is the work of the first movie magician, Georges Melies. We are introduced to Hugo (Asa Butterfield), a young man whose father left him a automaton after his death. It was a project that they worked on together, but never finished it. Hugo's main mission is to get the object working. As an orphan, Hugo hides in the rafters of a train station, maintaining the clocks that his drunken uncle used to do. After befriending a young girl, Isabelle (Chloe Moretz), he finally gets the automaton working, and it opens up a mystery that leads to the forgotten cinema of Melies (Ben Kingsley), now working on a store in the station.

The film shows love for silent cinema, and particularly the magic of Melies. Sacha Baron Cohen's station inspector is occasionally funny, and his character seems to be filtered through both Peter Sellers' Inspector Clouseau, and Jacques Tati's Monsieur Hulot, but he just doesn't seem to really progress at all, and feels almost like a filler character. Scorsese, like Robert Zemekis and Bob Gale before, reference that iconic Harold Lloyd moment in Safety Last! (1923), as Hugo hangs from a clock face.

Like so many others who speculate about the choices of Oscar nominations, Hugo, I feel, is not a contender for the best picture Oscar. There were some far better films produced in 2011. That said, the film is beautiful, accomplished , and often fun. Also, the resurgence of interest in a forgotten father of cinema, is completely touching, and leaves a warm feeling in the heart. Unfortunately, I did not see this in 3D; as far as I am aware, Scorsese uses it to brilliant degrees, so perhaps this would have made the experience perfect (despite the fact that I care not for the dimensions of 3.

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In the late 20's, in Paris, the orphan Hugo Cabret (Asa Butterfield) is a lonely boy that lives hidden from the cruel Station Inspector (Sacha Baron Cohen) behind the walls of the train station, keeping the clocks working. He survives stealing breads, milk and other nourishment from the station stores. Hugo's father (Jude Law) was a watchmaker that had taught Hugo how to fix clocks and gadgets and died in a fire in his workshop. Then his alcoholic Uncle Claude (Ray Winstone), who is the responsible for keeping the station clocks working but vanished months ago, brings Hugo to work with him.

Hugo is trying to fix an automaton, the only memorabilia he has from his father, stealing parts from the bitter and cranky owner of a toy store, Papa George (Ben Kingsley). However it is missing a heart-shaped key to make it work. Hugo believes that the robot possesses a last message from his father. When George holds Hugo, he takes a notebook from the boy with the notes that he is using to repair the automaton.

Hugo follows George and meets his granddaughter Isabelle (Chloë Grace Moretz), who is raised by her grandparents after the death of her parents. Isabelle befriends Hugo seeking to live the adventure of her life. When Hugo sees that the girl has the key that he needs, he brings her to his hideout and the automaton works and draws a poster from 1902 George Méliès' film "Le voyage dans la lune". Hugo and Isabelle continue to research about the filmmaker and they find a hidden secret about George Méliès.

"Hugo" is a wonder for any cinema lover, with a great tribute to George Méliès. Martin Scorcese delivers his best film after many years, with a wonderful story of a boy that fixes machinery and ends fixing the heart of an old man.

It is unbelievable that users without any cinema culture give low rating to a film that is a great homage to the silent movies, with many references along the story. The boy Asa Butterfield, from "The Boy in the Striped Pyjamas", gives another excellent performance and the girl Chloë Grace Moretz, who has a lovely smile, shows a fantastic chemistry with Asa Butterfield.

It is intriguing that at least three movies nominated to the Oscar 2012 have points in common: "The Artist" is a film about the transition from the silent movie to the spoken films; "Hugo" is set in Paris in the late 20's and has references to actors, actresses and directors of the silent movies; and "Midnight in Paris" is also set in Paris in the 20's. My vote is nine.

Title (Brazil): "A Invenção de Hugo Cabret" ("The Invention of Hugo Cabret")