'Hugo' may not be among Martin Scorsese's best, but only because films like 'Goodfellas', 'Raging Bull' and 'Taxi Driver', to name a few, are so good and among the best films ever made. Even when Scorsese was not at his best, he was still vastly superior to a lot of directors at their worst.
There is a huge amount to like about 'Hugo', but it is also easy to see why it won't be the cup of tea of some people. For me it was an uneven film, that had many moments where it achieved what it set out to do and others where it didn't, and it is this unevenness that to me that makes 'Hugo' so polarising, loved by some but despised by others.
Starting with the numerous positives, the production values are just exquisite. While my vote for the Best Cinematography Oscar that year would have gone to 'The Tree of Life', 'Hugo's' cinematography is still some of the most beautiful of the year making it one of the year's visually striking films. The set and costume design are both clever and a feast for the eyes, likewise with the 3D effects (some of the best 3D effects personally ever seen in a film, and actually propel the film rather than distracting from), and the lighting also does nothing to hinder that.
Music is haunting, emotive and whimsical in equal measures, and Scorsese shows here how talented a director he is. It is clear that the project meant a lot to him and that he had a lot of love and passion for paying tribute to Melies and early cinema. One also has to give him credit for do something different from the norm, the three big ones being the film being adapted from a children's book (a first for Scorsese), his first use of 3D and having a family that isn't the Mafia.
Along with the visuals, what is also note-worthy is the last thirty minutes. Whatever quibbles can be had with the rest of the film, this part of the film is very nostalgic, thought-provoking and extremely heartfelt. The script doesn't always work but has a lot of philosophical and historical insight, is emotive and does provoke thought in places. There are some good performances in the cast. Asa Butterfield is understated but never cold or a blank in a role that is not as easy as some think, and Chloe Grace Moretz is bright, energetic and charming. Christopher Lee's screen time is limited but it was still a pleasure to see him, a great example of an actor who can do no wrong. Best of all is a superb in every way Ben Kingsley, one of the most experienced and mostly consistent actors who can be relied on to give his all and he does here.
Granted, 'Hugo' is not without its problems. The film is perhaps too long and the pace definitely could have been tightened with a little trimming. That way, some of the storytelling's pacing wouldn't have felt as erratic with the first twenty minutes jumping around to rushed and sprawling effect and while mostly attention-grabbing parts in the middle drag and meander story-wise.
Also could have done without the subplot with Sacha Baron Cohen. That took up too much of the story, and saw some laboured and forced humour (mostly the humour doesn't work) and Baron Cohen overacting so wildly he comes over as more silly and annoying rather than funny and a threat. It may have been an attempt to bridge any gaps but to me it just felt out of place, self-indulgent and jarred too much with everything else. There are numerous cameos from talented actors, but most of them have barely anything to do, so much so you forget that they were even in the film (Jude Law being a prime example).
Concluding this review, less than completely magical but almost. A lot is done right but the film also could have been done better. Not a great film but there was a lot to like and still ended up appreciating it. 7/10 Bethany Cox
There is a huge amount to like about 'Hugo', but it is also easy to see why it won't be the cup of tea of some people. For me it was an uneven film, that had many moments where it achieved what it set out to do and others where it didn't, and it is this unevenness that to me that makes 'Hugo' so polarising, loved by some but despised by others.
Starting with the numerous positives, the production values are just exquisite. While my vote for the Best Cinematography Oscar that year would have gone to 'The Tree of Life', 'Hugo's' cinematography is still some of the most beautiful of the year making it one of the year's visually striking films. The set and costume design are both clever and a feast for the eyes, likewise with the 3D effects (some of the best 3D effects personally ever seen in a film, and actually propel the film rather than distracting from), and the lighting also does nothing to hinder that.
Music is haunting, emotive and whimsical in equal measures, and Scorsese shows here how talented a director he is. It is clear that the project meant a lot to him and that he had a lot of love and passion for paying tribute to Melies and early cinema. One also has to give him credit for do something different from the norm, the three big ones being the film being adapted from a children's book (a first for Scorsese), his first use of 3D and having a family that isn't the Mafia.
Along with the visuals, what is also note-worthy is the last thirty minutes. Whatever quibbles can be had with the rest of the film, this part of the film is very nostalgic, thought-provoking and extremely heartfelt. The script doesn't always work but has a lot of philosophical and historical insight, is emotive and does provoke thought in places. There are some good performances in the cast. Asa Butterfield is understated but never cold or a blank in a role that is not as easy as some think, and Chloe Grace Moretz is bright, energetic and charming. Christopher Lee's screen time is limited but it was still a pleasure to see him, a great example of an actor who can do no wrong. Best of all is a superb in every way Ben Kingsley, one of the most experienced and mostly consistent actors who can be relied on to give his all and he does here.
Granted, 'Hugo' is not without its problems. The film is perhaps too long and the pace definitely could have been tightened with a little trimming. That way, some of the storytelling's pacing wouldn't have felt as erratic with the first twenty minutes jumping around to rushed and sprawling effect and while mostly attention-grabbing parts in the middle drag and meander story-wise.
Also could have done without the subplot with Sacha Baron Cohen. That took up too much of the story, and saw some laboured and forced humour (mostly the humour doesn't work) and Baron Cohen overacting so wildly he comes over as more silly and annoying rather than funny and a threat. It may have been an attempt to bridge any gaps but to me it just felt out of place, self-indulgent and jarred too much with everything else. There are numerous cameos from talented actors, but most of them have barely anything to do, so much so you forget that they were even in the film (Jude Law being a prime example).
Concluding this review, less than completely magical but almost. A lot is done right but the film also could have been done better. Not a great film but there was a lot to like and still ended up appreciating it. 7/10 Bethany Cox