Timeless.

Rating: 10/10 (17 January 2012)

With a family-friendly vibe prominent in its appearance and marketing, 'Hugo' was (possibly deliberately) misleading in how it presented itself to viewers. This is not the epic fantasy-adventure the trailers may have led you to believe it was; what it is, however, is a confident character endeavour brimming with charm.
Title character Hugo, a young orphan boy, lives in a bustling Paris train station where he routinely works the intricate clockwork which features heavily in its architecture. When he isn't tinkering with the timepieces, Hugo secretly tries to fix a mysterious mechanical being left behind by his deceased father, all the while trying to hide his presence from the ruthless station manager (a subtle Sacha Baron Cohen). Dramatic developments occur, however, when Hugo befriends the daughter of the toy shop owner and discovers that she holds the key to unlocking the machine's secrets.
Despite primarily taking place within one location, the train station does not limit the scope of the movie. Policing it endlessly is Baron Cohen, his character reminiscent of the Child Catcher from 'Chitty Chitty Bang Bang', exuding the same hilarious fear factor. Scorsese plays with the film's steampunk vibe like a child plays with a new wind-up toy, panning across billows of smoke and detailed machinery. It bestows the film with tremendous character and a unique identity that will make it recognisable for years to come, as will be the performances by the incredible child stars that lead the roster. Chloe Grace Moretz hardly needed to prove herself, but alongside Asa Butterfield she outshines even her elder co-stars.
In reviewing the film I feel I have no choice but to judge the 3D experience also, something I would normally avoid. Audiences may have grown tired of it, film enthusiasts may still dismiss it as a gimmick, but 'Hugo' proves it is a medium worth investing in. Without the extra dimension, Scorsese would not have been able to effectively compare the extremes of technology found in his own film with those in the movies of yesteryear. In a particularly impressive sequence, a train rolls through a crowded station straight into the eyes of the audience, referring to a previous scene that explored how audiences reacted to one of the earliest examples of cinema. In the current industry there has been a varying quality of 3D that has drawn attention to its potential longevity; 'Hugo' is an example of a director really thinking outside of the box, giving the technology a great amount of credibility. I would go as far as to say I would refuse to watch the film in anything less than three dimensions.
A deserving contender for awards season, Scorsese's latest effort is big-budget art posing as family fare, pulling off both in equal measure. Make sure Hugo see it.
10/10