Do you have a video playback issues?
Please disable AdBlocker in your browser for our website.
Due to a high volume of active users and service overload, we had to decrease the quality of video streaming. Premium users remains with the highest video quality available. Sorry for the inconvinience it may cause. Donate to keep project running.
Hugo is the astonishing adventure of a wily and resourceful boy whose quest to unlock a secret left to him by his father will transform Hugo and all those around him, and reveal a safe and loving place he can call home. 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.
A gorgeous, moving and amorous love letter to the very cinema it is born from, and a celebration of the youthful wonder that is concealed in everyone - yes, even those of us resolved to the cynicism of adult thinking.
"Hugo" is a magical cinematic experience, and a masterpiece so unlike anything Scorsese has made before. Captivating and original, it is the director's most human film yet.
It might be curtains for celluloid, but Scorsese, a boyish 69, clearly isn't leaving the stage any time soon. He directs every film with the passion of his first. And it shows.
Thematic potency and cinematic virtuosity -- the production was designed by Dante Ferretti and photographed by Robert Richardson -- can't conceal a deadly inertness at the film's core.
But once the "Cinema Paradiso"-esque celluloid nostalgia bits kick in, it makes total sense why he succumbed to paying lip service to family entertainment in order to make the movie he really wanted to make.
Being a hardcore cinephile (like Scorsese) might add a layer of enjoyment, but it certainly isn't a prerequisite for walking in the door. A sense of wonder, however, is.