Orphaned and alone except for an uncle, Hugo Cabret lives in the walls of a train station in 1930s Paris. Hugo's job is to oil and maintain the station's clocks, but to him, his more important task is to protect a broken automaton and notebook left to him by his late father. Accompanied by the goddaughter of an embittered toy merchant, Hugo embarks on a quest to solve the mystery of the automaton and find a place he can call home.
Scorsese's love letter to early cinema earned broad critical admiration for its visual splendor and sincerity, with 3D deployment singled out as among the best ever seen. The main friction points were pacing — several critics found it overlong and meandering — and whether its passion for film history translates into genuine dramatic momentum or remains a beautifully crafted but somewhat cold artifact.
“a big-budget, family epic in 3-D, and in some ways, a mirror of his own life. We feel a great artist has been given command of the tools and resources he needs to make a movie about—movies.”
Roger Ebert·Chicago Sun-Times
“rich and stimulating even when it wanders”
Michael Phillips·Chicago Tribune
“visually ... is a marvel, but dramatically it's a clockwork lemon”
Joe Morgenstern·The Wall Street Journal
“an odd mixture: a deeply personal impersonal movie”
Peter Rainer·The Christian Science Monitor
“Scorsese's love poem, rendered gorgeously in 3-D, restores both the reputation of an early pioneer and the glory of movie history—the birth of a popular art form given new life through a master's application of the coolest new techniques”
Richard Corliss·Time
Adventure, Drama, Family
Orphaned and alone except for an uncle, Hugo Cabret lives in the walls of a train station in 1930s Paris. Hugo's job is to oil and maintain the station's clocks, but to him, his more important task is to protect a broken automaton and notebook left to him by his late father. Accompanied by the goddaughter of an embittered toy merchant, Hugo embarks on a quest to solve the mystery of the automaton and find a place he can call home.
Scorsese's love letter to early cinema earned broad critical admiration for its visual splendor and sincerity, with 3D deployment singled out as among the best ever seen. The main friction points were pacing — several critics found it overlong and meandering — and whether its passion for film history translates into genuine dramatic momentum or remains a beautifully crafted but somewhat cold artifact.
“a big-budget, family epic in 3-D, and in some ways, a mirror of his own life. We feel a great artist has been given command of the tools and resources he needs to make a movie about—movies.”
Roger Ebert·Chicago Sun-Times
“rich and stimulating even when it wanders”
Michael Phillips·Chicago Tribune
“visually ... is a marvel, but dramatically it's a clockwork lemon”
Joe Morgenstern·The Wall Street Journal
“an odd mixture: a deeply personal impersonal movie”
Peter Rainer·The Christian Science Monitor
“Scorsese's love poem, rendered gorgeously in 3-D, restores both the reputation of an early pioneer and the glory of movie history—the birth of a popular art form given new life through a master's application of the coolest new techniques”
Richard Corliss·Time
Adventure, Drama, Family