Hugo (2011)

Featured Audience Ratings

• Lorenzo v

  
  <i>"If you've ever wondered where your dreams come from, you look around... this is where they're made."</i> Set in 1930s Paris, an orphan who lives in the walls of a train station is wrapped up in a mystery involving his late father and an automaton.… More
  <i>"If you've ever wondered where your dreams come from, you look around... this is where they're made."</i> Set in 1930s Paris, an orphan who lives in the walls of a train station is wrapped up in a mystery involving his late father and an automaton. <center><font size=+2 face="Century Schoolbook"><b><u>REVIEW</u></b></font></center> It takes a while for Hugo to really get going, but it's certainly beautiful in the meantime. The film is a visual spectacle while each frame is an absolute joy to look at. You're taken through the intricate insides of various clocks at a train station; seeing their gears move as the use of steam adds just the right amount of mystery. It's not so much the fact that Hugo is slow because it isn't. There's this veil of mystery that isn't lifted until Hugo (Asa Butterfield) finally caves and tells his story. The various clocks and train station setting keeps you occupied and the long introduction with no dialogue is extremely noteworthy. It's just for nearly half the film, you have all these elements (clocks, the train station, a notebook, an automaton, and Hugo's father) without much of a connection. But it does all come together in extraordinary fashion. The cast is really superb. Asa Butterfield is so passionate and emotional. Those blue eyes of his tell the story better than words ever could. Chloe Grace Moretz is so optimistic and eager for a chance at an adventure. You can't help but adore the Isabelle character. Sacha Baron Cohen seems to step way out of his element here. The Station Inspector seems like a complete 180 from Bruno or Borat, but his sense of humor is still in his performance. He just happens to have a bit more depth in comparison. Ben Kingsley's Georges Méliès goes through such a transformation in the film though that he's able to display such a wide range of emotion. He plays the broken old man impeccably. There are times when movies affect you in a way that let you know they are special. For me, it's like I'm suddenly overcome by a wide range of emotions that make me want to laugh, cry, scream at the top of my lungs, and the overwhelming sensation of never wanting that moment or the movie to end. I'm not ashamed to say I felt that a few times during Hugo. James Cameron called Hugo a masterpiece and it's really difficult to argue with that. There isn't a weak point in the cast, the visuals are outstanding, and you find yourself connecting to the story. You're sucked into this world right from the start.

• Mike S

  
  Fabulously directed and infused with great magic, <i>Hugo</i> certainly files under above-average fantasy fare. I can't say I fully concur with the overwhelming critical acclaim, but it's a pleasant journey to take with an amazingly rich visual pizazz. Martin… More
  Fabulously directed and infused with great magic, <i>Hugo</i> certainly files under above-average fantasy fare. I can't say I fully concur with the overwhelming critical acclaim, but it's a pleasant journey to take with an amazingly rich visual pizazz. Martin Scorsese may be a stranger to this family-friendly genre, but he's certainly no weaker for it, as he plays his new instrument like he's never done anything else. Apart from the endearing leads played by Asa Butterfield and Chloë Grace Moretz, I also took a great liking to the wonderful supporting cast. Sacha Baron Cohen is a little more downplayed than usual (no green mankinis this time around), but quite memorable nevertheless as the tenacious station inspector Gustav. As can be said for Sir Ben Kingsley, who brings a lot of passion to his character, as the old toy-maker Georges Méliès. Not to mention the brief, but excellent performances by Ray Winstone, Christopher Lee, Emily Mortimer and Jude Law. Sadly, not everything runs like clockwork though. While the film is enjoyable all the way, the progression of the plot sometimes drags and loses momentum, which is one of the reasons why I can't allow myself to give it a higher rating than I have. It also feels a tad outstretched and would have done good in leaving out some of the less essential scenes. Another thing I wasn't too excited about is the blue & orange color palettes. It's become a common trend in Hollywood these days to apply these sort of "mood-setting" touches, but personally I think it just serves to diminish the visual impact. An enchanting and painstakingly crafted piece of film-making nevertheless though, that if anything shows that Scorsese haven't lost any of his flairs for heartfelt story-telling. My only regret is that I never saw it in the cinema, as I'm sure the neat 3D-elements would have added a lot to the experience. For more of my reviews, feel free to visit my movie page on Facebook: http://www.facebook.com/pages/Mikes-Movie-Reviews/281824101875153

• Sam B

  
  Slow and calculated as it is, as the film progresses, it begins to reveal layers of depth and wonder. Scorsese has created the best 3D film ever (because as good as Avatar looked, there was nothing special beyond the aesthetics), and all of the performers give strong, slightly… More
  Slow and calculated as it is, as the film progresses, it begins to reveal layers of depth and wonder. Scorsese has created the best 3D film ever (because as good as Avatar looked, there was nothing special beyond the aesthetics), and all of the performers give strong, slightly self-aware performances, and you can tell they all had fun performing. The sluggish pace and abrupt change of subject matter means that a lot of people (especially kids) will either be bored of the movie or simply won't enjoy the sudden history lesson pushed upon them, but I think anybody should give it a try anyways.

• Julie B

  
  Really sweet and will tweak your nostalgia gene hard.

• Alice S

  
  So much of the beginning is just a mean old man saying, "I will burn your notebook because I'm mean!" and just a hedgy kid saying, "I can't tell you who drew those pictures in my notebook because the script requires me to be hedgy!" My dead father drew… More
  So much of the beginning is just a mean old man saying, "I will burn your notebook because I'm mean!" and just a hedgy kid saying, "I can't tell you who drew those pictures in my notebook because the script requires me to be hedgy!" My dead father drew the pictures, and I'm trying to rebuild his machine. How simple is that? Papa Georges' "I trusted you" line after Hugo and Isabelle discover his true identity is also completely throwaway. His and Hugo's relationship isn't one of trust, and one can only be trusted if he knows what he's to be trusted with...so why would Papa Georges imply Hugo broke some kind of trust? The 3-D is fine; I'm not really a connoisseur of that. However, the "magic of movies" subplot - which I guess is actually the main plot - comes in too late, and there's no substantial connection between Hugo's father and Georges Mà (C)liès - just convenient coincidence. What are the odds that Hugo's dad will find Mà (C)liès' automaton and Hugo will meet Mà (C)liès' goddaughter, who just so happens to have the heart-shaped droid he's looking for?

• Jens S

  
  Certainly being Scorsese's most unusual film, this is an innocent and optimistic adventure movie without any signs of cynicism or violence. Mostly aimed at a younger audience (at least the part with an attention span longer than 15 minutes) it should also please adults still… More
  Certainly being Scorsese's most unusual film, this is an innocent and optimistic adventure movie without any signs of cynicism or violence. Mostly aimed at a younger audience (at least the part with an attention span longer than 15 minutes) it should also please adults still young heart, even if the storytelling and dialogs are very simplistic. Starting out as a harmless adolescence riddle hunt, the second half is mostly a love declaration to the pioneers of film making. The young actors are lovable and talented and of course we already know Ben Kingsley is able to control a movie screen. Sacha Borat Chohen is a pleasant surprise as station inspector, especially once the character shows it is far from one-dimensional. Visually the film looks rather like an animated movie, maybe a little fake. Not in a bad way, it just creates an artificial 1920s Paris and makes great use of the 3D technology for a couple of gorgeous shots. But the characters, their story and the ultimate praise of cinema as an invention and escapism guilty pleasure is way more important than the visual style of the film. Being maybe a tad harmless, this is certainly nothing spectacular or exciting by any means, but very lovable, rewarding and heart-warming.

• Robert C

  
  Though I enjoyed the film immensely...it is not nearly as magical or enchanting as I wanted it to be (or as it seems to think that it is). But it is a beautifully shot (3D was a great enhancement here) and passionately told story to spite it's feeling a bit long winded. Both… More
  Though I enjoyed the film immensely...it is not nearly as magical or enchanting as I wanted it to be (or as it seems to think that it is). But it is a beautifully shot (3D was a great enhancement here) and passionately told story to spite it's feeling a bit long winded. Both set and costume designs are - amazing! (Oscar worthy?) But I feel like so much time was spent during the first half of the film trying (sometimes desperately) to make Hugo's world at the train station seem more adventurous and fantastical, that it ended up being work towards the detriment of the second half of the film which is truly touching and magical. It is definately worth seeing. Film fans will appreciate the passion in which it was made and the history it touches on, but I really can't imagine it holding the interest of (most) children for very long.

• Mark W

  
  "My friends, I address you all tonight as you truly are; wizards, mermaids, travelers, adventurers, magicians... Come and dream with me." These are the words of magician/director George Melies (Ben Kingsley) and also the very words of director Martin Scorsese in his love… More
  "My friends, I address you all tonight as you truly are; wizards, mermaids, travelers, adventurers, magicians... Come and dream with me." These are the words of magician/director George Melies (Ben Kingsley) and also the very words of director Martin Scorsese in his love letter to all things cinema. Paris, 1931. Young Hugo (Asa Butterfield) maintains the clocks of a great railway station while avoiding a guard (Sacha Baron Cohen) intent on sending him to an orphanage. Aided by Isabelle (Chloe Grace Moretz), Hugo gets an automaton left by his late father (Jude Law) working. It draws a picture, which prompts the children to delve into the mystery of an unhappy shopkeeper (Kingsley), at this very station, and his intriguing history. Cinema is to be enjoyed and is the biggest, modern medium for means of escape. Granted, Scorsese allows us to escape here but doesn't really escape to anywhere noteworthy. The whole film looks absolutely magnificent and Scorsese's use of 3D is the best I have seen yet. He doesn't rely on action set-pieces to get it across but concentrates more on the basics; snow falling, steam drifting and passers-by in order to fully amerce us in the grand scheme of things. It works a treat and looks wonderful but ultimately remains just a visual spectacle, instead of the adventure in which it proclaims to be. In fact, the biggest moment of entertainment comes from his use of archival footage of the great Harold Lloyd and his classic clock tower stunt from "Safety Last!" in 1923. There's no doubt that Scorsese is a film buff and feels the need to remind us of the craftwork and illusionary beauty of some forgotten pioneers of cinema but he doesn't quite achieve anything worth noting in telling his own tale. The use of 3D is magnificent (and sometimes distorting) but even that will eventually be bettered in time. Fine performances are included, young Asa Butterfield is commanding throughout but some, like Emily Mortimer, are wasted in thankless roles. In fact, the film has everything going for it but somehow, strangely, seems uneventful. As a visual spectacle it's outstanding but also somehow laboured and tedious. Maybe my expectations were too high going into this. Scorsese's Oscar nomination for best director is well deserved but I found myself waiting for something to happen and... it never did. What it does do, is allow you to appreciate the craftsmanship and wonderment of cinema, and being Scorsese's obvious intention, it at least achieves that.

• Kalel J

  
  In cinema, sometimes a film comes along that acts as a bookmark; a feature so breathtaking, so inventive, and so fresh that it emerges as a gateway piece for the medium, ushering in new concepts and ways of thinking. These films are not only a highlight of their year, but prove an… More
  In cinema, sometimes a film comes along that acts as a bookmark; a feature so breathtaking, so inventive, and so fresh that it emerges as a gateway piece for the medium, ushering in new concepts and ways of thinking. These films are not only a highlight of their year, but prove an ultimate worth as a devotion of newness to the art form. HUGO is a bookmark piece in cinematic history, at once a paean to films of old, and a spark of imagination for films yet to come; at once a loving ode to the medium it exists in, and a wondrous insight into the relation it bares to the world around it. Scorcese's film is beautiful and delicate in tone, with an innocence and wonder that should prove invigorating for children and rekindling for adults. In many ways, HUGO is recursive in narrative and intent. Its depiction of early cinematic landmarks mirrors its own intent in inspiration. Through its dashing use of 3D (the best use of the technology yet) and its marriage with glowing, golden-hue imagery, the world on offer is unique yet captivating - pulling the audience into the frame to walk with these characters and weave through the Parisian corridors.

• Kase V

  
  Martin Scorsese' 'Hugo' knocked me out. I did not enter the theater expecting to be thoroughly entertained, but i was so wrong. Scorsese's love of theater and cinema is so apparent here that all other movie lovers are wisked along with him on this journey of… More
  Martin Scorsese' 'Hugo' knocked me out. I did not enter the theater expecting to be thoroughly entertained, but i was so wrong. Scorsese's love of theater and cinema is so apparent here that all other movie lovers are wisked along with him on this journey of reinventing a broken man. The 3D was used well, but too much. I do not think this film is best picture material, but it is great entertainment for any age.

• Nicki M

  
  Got dragged along to this one, certainly wasn't something I would have picked out myself! Kids films are really not my thing, it's just as well this isn't "really" a kids movie - I honestly think they would be bored with it, it is way too long at over 2 hours… More
  Got dragged along to this one, certainly wasn't something I would have picked out myself! Kids films are really not my thing, it's just as well this isn't "really" a kids movie - I honestly think they would be bored with it, it is way too long at over 2 hours (even for me, it could have happily been half an hour shorter). I saw this in 3D, which I think helped make it a little more interesting. It is very slow and there are a few bits I didn't like all that much. I have to say I am surprised by the negative comments on Asa Butterfield, who plays Hugo. I often don't like kid actors, but I thought he did really well with this. He isn't over the top and he has a nice screen presence. (Is it just me, or is he a bit like a young Jarvis Cocker in looks?!). Sacha Baron Cohen WAS over the top. I really hated his train guard character, and not just because he was mean - he just totally left me cold and I found myself hoping he wouldn't get together with Lisette because he was just so disgusting I wouldn't wish him on her! The other thing that bugged me is that it set in France, yet everyone talks in English with an English accent - that bit really did my head in! Aside from that, I liked the French setting and it was a very pretty movie to look at. Also the dogs stole the show on several occasions. I found the movie bits with Georges really ugly to look at. (I am sure I will get panned for criticising early works of film, but seriously?!). It had its good points and its bad points, really I think if you enjoy it or not will come down to personal taste. I enjoyed it more than I expected to, but once was enough for me.

• c0up  

  
  'Hugo'. Charming, touching, and simply beautiful. Thank you, Martin Scorsese, for a wonderful love letter to films and purpose. Asa Butterfield's Hugo Cabret had me caring for him from the first minute, and brings a huge amount of heart to the central character of this… More
  'Hugo'. Charming, touching, and simply beautiful. Thank you, Martin Scorsese, for a wonderful love letter to films and purpose. Asa Butterfield's Hugo Cabret had me caring for him from the first minute, and brings a huge amount of heart to the central character of this story. He's a lonely kid trying to find his place in the world, and I really felt for him. Film for Hugo is a chance to see dreams and the fantastical come alive, while at the same time providing a way to escape and forget, though it subsequently acts to reminisce Every mention of his father had the 3D getting a little blurry. The emotional punch isn't limited to Hugo though. Ben Kingsley delivers a fine supporting performance as Georges Melies, and the resolution of his secondary, but intertwined plot, impacts in an equally big way. Sacha Baron Cohen's Station Inspector is a barrel of laughs, especially his vernacular when it comes to insulting the various characters of the station, and Chloe Moretz shines once again. Being so passionate about movies, the Melies storyline and history carried even greater meaning to me, as I've recently been listening to Raphael Shargel's 'Understanding Movies', with the first chapter being devoted to the Lumiere brothers and Georges Melies. Getting more of the history behind, and actually seeing works such as 'Arrival of a Train' and 'A Trip to the Moon' had me invested that little bit more. This would make a perfect double feature with 'Cinema Paradiso'!

• William D

  
  Martin Scorsese's gorgeous and imaginative new film, "Hugo," has a slow first half. But stay with it. The second half is splendid and deeply emotionally satisfying. The film works perfectly well at face value. But looking at it as a metaphor for cinema itself,… More
  Martin Scorsese's gorgeous and imaginative new film, "Hugo," has a slow first half. But stay with it. The second half is splendid and deeply emotionally satisfying. The film works perfectly well at face value. But looking at it as a metaphor for cinema itself, "Hugo" takes on wonderful extra meaning. Scorsese has somehow found a way to make a popular, mainstream movie that essentially is a call to rescue old movies from disintegration, a cause near and dear to Scorsese's (and my) heart. "Hugo" is particularly concerned with the work of very early pioneers like George Melies, who invented the art form in the 25 or so years leading up to World War I (roughly 1890-1915). If "The Artist" was a French love letter to American cinema, then "Hugo" is an American love letter to French cinema. These films go together in beautiful ways. For them both to appear in 2011 is nothing short of cosmic serendipity. My new prediction: "Hugo" will win the Oscar for Best Picture. And I will be cheering it every step of the way. The standing ovation that Martin Scorsese received when he accepted the Golden Globe for Best Director is a sign that many people in the industry have been deeply moved by this film -- and for good reason.

• Sophie B

  
  A brilliant little story about one of the most important filmmakers in history: Georges Melies. Seemingly set in a fantastical world, it simply brings the fantasy and romanticism of early cinema to an audience that is exposed to the visual effects that Melies pioneered. A distraction… More
  A brilliant little story about one of the most important filmmakers in history: Georges Melies. Seemingly set in a fantastical world, it simply brings the fantasy and romanticism of early cinema to an audience that is exposed to the visual effects that Melies pioneered. A distraction of the day to day troubles, the cast work perfectly together giving outstanding performances. The only downside was that Isabelle was annoying and obnoxious and it did tend to slow down at times. However the beautiful scenery and the sweet little lve story between Lisette and the Station Inspector really made it a worthwhile watch.

• Jason L

  
  "This is the place where your dreams come from," says French filmmaker George Melies, portrayed by Ben Kinglsey. He peers down at a young boy, a fellow film lover, and in that moment they share something- an unabashed love for cinema, an ageless kind of magic. This scene… More
  "This is the place where your dreams come from," says French filmmaker George Melies, portrayed by Ben Kinglsey. He peers down at a young boy, a fellow film lover, and in that moment they share something- an unabashed love for cinema, an ageless kind of magic. This scene best represents Martin Scorsese's first family feature, Hugo; based on the Award Winning novel, The Invention of Hugo Cabret by Brian Selznick. Hugo is a love letter to the early days of cinema- extravagant in visuals, gorgeous in set pieces,memorable in score, and boasting of cinematic rapture - the pure dazzle that the film so completely exudes is astounding. Martin Scorsese, famous for his violent gangster films such as The Departed, and Gangs of New York, as well as Taxi Driver and The Aviator would not be the first person you'd expect to helm a family- oriented film. But his evident care for the subject matter is what fuels his talent here, young Hugo Cabret (Asa Butterfield) seeming to be a reincarnation of the famed director. Hugo Cabret is a 13-year old boy living in a train station. His father (Jude Law), who was an inventor, one day, found an automaton abandoned in a museum storage closet. His drive to fix things sparks his curiosity of the old invention, bringing it home, where he and Hugo can find out how it works. But before they get too far in the invention, Hugo's father dies in a museum fire. He is sent to live with his constantly drunken uncle (Ray Winstone), who takes him in as an apprentice to wind the clocks in the Paris train terminal every day. Disappearing one day, Hugo has to reset the clocks each day and evade the station inspector (Sacha Baran Coen) so he won't get sent to an orphanage. Thinking that the automaton contains a message from his father, he steals parts from the toy store owner in the train station, George Meiles, who eventually catches him. He takes Hugo's notes on the automaton, which he claims to be his own. His goddaughter, Isabelle (Chloe Grace Mortez), tells him that he won't burn the book, which he pretends to. Hugo persists, and one day, Meiles has Hugo fix a small automaton for him, completing the task admirably, stunning the old man, who still won't hand over the notes. Hugo finds out that Isabelle's heart shaped necklace fits into the keyhole of the automaton, and causes it to draw a picture of a bottle rocket in the moon's face- Hugo's father's favorite film. They slowly learn the George Meilies was the famed French film maker, who gave up on his dream of making films. As they try to get him to follow his dreams once more, Hugo struggles to find his own purpose, and finds that the key to finding it just may be found in the heart of an automaton. I know now why Hugo is so well reviewed. It's a movie about movies made by a man who knows a lot about movies. Being that most movie reviewers like movies, seeing the revelation of a small boy, lost and alone who finds comfort in watching movies, it may just bring each of us movie lovers who experience this film to feel something magical, so vibrantly expressed, something that precisely fits the definition of what art should be like. I also know why it's a children's film- not because it's fantasy, or adventure, or whimsy, but because the best way to experience this film is with the purity, with the innocence of having an adventure. How sometimes the most perplexing of events can be best comprehended in such simple psychology. It's also an excellent film because of Scorsese's obvious love for movies. He handles this movie with care and affection, detailing the events of George Meiles' life and his movies with an unadulterated platform, the scenes of Meiles' movies taking a break from the 3D. The film is also excellently acted- Asa Butterfield, best known fror Merlin, is wonderfully childlike but also displays some fine emotional performances when such are due. Chloe Grace Mortez, who's always been great, is obviously toned down a bit here. But the first scene when she appears on screen- she's holding a book, she's using a big word, and she's looking at her male counterparts like they're the lowest intellectual life forms possible- it is like the second coming of Hermione Granger herself. There's not a flat note in the production, but unlike the rest, Ben Kingsley stands out among Scorsese's understandably dominant direction. He has a twinkle in his eyes as he remembers his love for film- he shows anger and deep signs of age when he remembers he's no longer a film maker. He shows sadness when the revelation of the loss of his life's work comes back to haunt him- an award worthy performance. Scorsese's direction is transportive and dramatic. Gorgeously shot with elegant flair, his dark vision is vivid here, illuminating dark backdrops with dazzling imagery and camera shots. He has done his homework here on 3D films, masterfully adding dimension to several scenes. I personally don't like 3D, but if there is one film this year that actually used it to fullest ability, it is this one. The cinematography is crisp and haunting; flashes of Meiles' past and films are detailed and actually meld into the film, an evenly polished finish. The art direction is some of the best I've seen all year. Elaborate set pieces are carefully detailed and magnify the beautiful streets of Paris, the inner workings of a clock, a crowded train station, and even an apartment overlooking the Eiffel Tower are intricate and well-crafted. This film is Scorsese's gift to those who love film and still look fondly at its earliest days. It's dually an introduction to those who know nothing about movies, and if nothing else, will help viewers appreciate anyone who ever had a dream. A truly magical, poignant adventure.

• Thomas B

  
  It's not as pacy as you'd hope but stick with it and you'll be rewarded with an incredible story with real emotion and an unabashed love-letter to early film. Full review later.

• Carlos M

  
  Let's be honest, it is pathetic to see a movie that wants to praise the magic of cinema but does not even offer a decent 3D (though the 3D does work in a few scenes). Besides, it seems like two different stories clumsily combined together, with also unnecessary subplots and a… More
  Let's be honest, it is pathetic to see a movie that wants to praise the magic of cinema but does not even offer a decent 3D (though the 3D does work in a few scenes). Besides, it seems like two different stories clumsily combined together, with also unnecessary subplots and a mediocre leading performance by Asa Butterfield.

• Ken S

  
  Tied with Contagion for my favorite movie of the year. It reduced me to tears several times.

• First L

  
  An enigmatic young boy lives behind the scenes of a parisian train station within it's great, clockwork structures, living off of pilfered croissants and bottles of soda pop. But food isn't the only thing the boy is stealing: he also helps himself to the station's toy… More
  An enigmatic young boy lives behind the scenes of a parisian train station within it's great, clockwork structures, living off of pilfered croissants and bottles of soda pop. But food isn't the only thing the boy is stealing: he also helps himself to the station's toy shop, not for playthings but for parts. He's attempting to re-create a mechanical boy, you see, an automaton his father rescued from a burning museum. One day, the boy is caught by the toy store owner, and has his research notebook confiscated. The shop owner tells him he must come and work for him if he ever wants to get it back. What is this mechanical boy and what is it's significance? That, it turns out, is not even the interesting question to ask of "Hugo", Martin Scorsese's first foray into 3D film. Hugo was not arbitrarily set in Paris. Paris is the setting specifically because it is the birthplace of film (sorry Hollywood) and more specifically, the birthplace of Georges Méliès, an early film pioneer. Méliès, a magician, began making films in 1896, a year after attending the Lumière brothers' first public film screening. After making over 500 films, including the landmark film, "A Trip to the Moon", he found his popularity fading at the outbreak of WWI. The ugliness of war had chased away the magic of imagination. No longer able to "make dreams happen", Méliès became a toy salesman at the Montparnasse station. It's quite something to watch Scorsese intertwine so many stories in Hugo, all while paying tribute to both french cinema and his own predecessors. There is also a clear message about the importance of film preservation. The dreams of the past can live forever if we choose to preserve them. Hugo is visually stunning, artistically gorgeous, and truly a bit of the director's heart and soul captured on film.

• Phil H

  
  I will be totally honest here and say that for much of this film I really didn't quite see what was suppose to be going on, a boy who lives in a railway station working the clocks befriends a young girl who is the goddaughter of a miserable old toy maker who also lives within the… More
  I will be totally honest here and say that for much of this film I really didn't quite see what was suppose to be going on, a boy who lives in a railway station working the clocks befriends a young girl who is the goddaughter of a miserable old toy maker who also lives within the station, together they try to make an old automaton work simply because his father never finished it. I simply couldn't quite fathom out what the point was and where the film was going, I had read allot of good reviews for the film but was lost. There is a huge amount of dialog and not much else going on throughout the film which admittedly is rather dull making it slow going, there are inclusions of attempted humour with Sacha Baron Cohen as 'Inspector Gustav' (Frenchman with London accent) who merely comes across as a poor blend of Kenneth Mars character 'Inspector Kemp' from 'Young Frankenstein' and the silly tall French policeman from the British comedy 'Allo Allo'. It is only towards the end of the film that you finally discover the film is actually a biopic about cinematic legend Georges Mà (C)liès (had a clue but couldn't see it up to this point) and everything you have been watching is snippets from his life into the world of film. From this point on the film changes from being rather dull to a fantastic homage to the great man and his wonderful silent movies with a sublime montage of actual footage and the way it was probably created. Don't get me wrong the film isn't poor by any means, its a visual masterpiece capturing France 1931 and comes across like a dreamlike fantasy with surreal images and very good performances from a stellar cast. Kingsley as Mà (C)liès is of course the highlight with a lovely contrast between his youth and old age. In all honesty the film is pretty boring up to about the last 30mins where you finally see the film for what it is, this last part of the film is amazing as it highlights a long forgotten craftsman and genius whilst also highlighting how good modern films can be if they try. Scorsese certainly surprises with this outing as from the look of the film you would never have guessed he directed, beautiful to look at and with historical accuracy to boot! may require another viewing.

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