Hugo Movie Reviews

At long last, it has made it to our multiplexes. And in case you are wondering if it has been worth the wait, the answer is a resounding yes. Besides crafting some of contemporary cinema’s most powerful dramas (Raging Bull, GoodFellas, The Departed, to cite only three titles), Martin Scorsese has constantly campaigned for the cause of film preservation and restoration. Clearly, then, the adaptation of the 2007 illustrated novel by Brian Selznick is a labour of love

Martin Scorsese's 'Hugo' inspires the kind of affection and awe that few modern movies do. Starting out as an enchanting adventure story, the film ultimately reveals itself as a tribute to the history and the power of cinema. Lusciously photographed, in glorious 3D, it tells the story of 12-year-old Hugo (Asa Butterfield), an orphan in 1930s Paris, who secretly lives inside the walls of a train station, and keeps all the clocks running on time. Living off whatever food he can steal

Hugo is the story of young Hugo Cabret (Butterfield), the orphaned son of a watch-maker (Law), whose home is the vibrant Paris station in the 1930s. Filling in for his only living guardian, his deadbeat uncle, winding up all the clocks in the station. While the bumbling station master Gustave (Cohen) and his faithful mutt cracking down on stray orphans, Hugo is forced to live in utter discretion. The only company that the lad has is an automaton

Hugo is one of the world’s most saccharine stories – about a boy named Martin Scorsese who discovers the magic of cinema and never lets go, but it serves up such fantastic insight and visual beauty that it instantly becomes a lucid dream, a hand crafted masterpiece. Going against all his gangster drama roots, Scorsese offers a film in which the characters are defined by fleeting moments of softness and visual pizzazz. The startling effect of Hugo is that months later

Hugo is as unlike a Scorsese film as there has ever been, yet his most autobiographical. The filmmaker who dabbles with themes of loss of innocence, violence, guilt and redemption creates a world away from all this inside the confines of a Paris railway station, and imbues it with breathtaking kindness and warmth. The railway station is but a temporary halt for most, but it's a place where different worlds meet, distances are bridged, strangers interact

Hugo, an enchantment from Martin Scorsese, is the 3D children’s movie that you might expect from the director of Raging Bull and Goodfellas. It’s serious, beautiful, wise to the absurdity of life and in the embrace of a piercing longing. The movie is based on the book The Invention of Hugo Cabret, but is also very much an expression of the filmmaker’s movie love. Surely the name of its author Brian Selznick caught his eye: Selznick is related to David Selznick

For the time being, let's keep all this aside: After having released in the U.S last year, Hugo finally releases in India today. Hugo went on to nab 11 nominations and five Oscars this year. With Hugo, director Martin Scorsese for the first time ever enters three-dimensional territory. Instead, let's talk of this: The Eiffel Tower of the 1930s has never looked so inviting; the snow falling atop the wooden roofs and window panes of old France has never looked so mesmerizing

Paramount Pictures’ Hugo is the story of an orphan who wants to find out the mystery behind an automaton that he and his father were trying to repair. A wizard on machines, young Hugo Cabret (Asa Butterfield) lives in a railway station in Paris and maintains all the clocks at the station. While he tends the clocks most of the time, he spends the rest of his time trying to repair an automaton that he and his father (Jude Law) tried to revive