Hugo Cabret

"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."

What Martin Scorcese has managed to do is add story dimensionality to a family film that has 3D technology. Some of the dimensions he's included which don't always make into Hollywood blockbusters are an imaginative and original concept, thematic unity and resonance and deft homage to film itself, in the story of Georges Méliès, French film pioneer.

Saw the film in an advance screening and we were among the many there who were obviously not standard family film consumers. This being a Scorcese film is likely to bring lots of adults to Hugo and I would think many of them, like me, will feel the film stands up as entertainment for all age groups.

I especially enjoyed the resonance and intricacy of the theme of clocks, clockworks, animatronics and "the ghost in the machine"--our fear, in the post industrial age that perhaps we are just a rather complex machine, rather than a divine creation. This is all beautifully rendered cinematically. I doubt the little ones will be bewildered while older viewers can pick out levels and layers in the film.

Good fun and visually interesting throughout. The 3D is used in service of the story. I hope Hollywood is watching and notices that special effects are only special when they get the heart of the machine working, like Hugo's little man.

Like many, I suspect, I went into this film ready to be dazzled by the cinematography and a rare, nice clean story by Director Martin Scorcese. I wasn't disappointed although I found the story lagging in a few brief spots. Cutting the film another 10 minutes might have solved that. Having said that, though, a month later I'm all ready to view it again!

To me, the most interesting and amazing scenes were not involving the two young main characters and the railroad station, but the ones in the last 30-or-so minutes which dealt with very early films and how they made them. It was incredibly colorful and an education to film buffs everywhere. Anyone who loves movies and appreciates the history of the art should love the last part of this story.

Meanwhile, the bulk of the story still offers many great sights and sounds and I have no quibbles with any of the actors. Youngsters Asa Butterfield ("Hugo") and Cholë Grace Moretz ("Isabelle") were both about 13 when they made this and seem to have good careers ahead of them. I didn't recognize Sacha Baron Cohen as the station inspector. He was great in that role. As for Ben Kingsley, when is he ever bland?

This is one of those "family films" that can be enjoyed just as much - and probably more - by adults. I wish Scorcese would make more of this kind of material.

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")

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.