Format: Blu-ray
(81)Release Date: February 28, 2012
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Product Description
Welcome to a enchanting universe of fantastic adventure! When machiavellian and quick Hugo discovers a tip left by his father, he unlocks a poser and embarks on a query that will renovate those around him and lead to a protected and amatory place he can call home. Academy Award®-winning filmmaker Martin Scorsese invites we to knowledge a stirring tour that critics are job “the things that dreams are done of.” *Peter Travers, Rolling Stone
Product Details
- Amazon Sales Rank: #6 in DVD
- Released on: 2012-02-28
- Rating: PG (Parental Guidance Suggested)
- Number of discs: 3
- Formats: AC-3, Color, Dolby, DTS Surround Sound, Subtitled, 3D, Widescreen
- Original language: English
- Subtitled in: English, French, Portuguese, Spanish
Editorial Reviews
Amazon.com
In quick waif Hugo Cabret (Asa Butterfield, an Oliver Twist-like charmer), Martin Scorsese finds a ideal vessel for his silver-screen passion: this is a film about cinema (fittingly, a 3-D effects are spectacular). After his clockmaker father (Jude Law) perishes in a museum fire, Hugo goes to live with his Uncle Claude (Ray Winstone), a drunkard who maintains a clocks during a Paris sight station. When Claude disappears, Hugo carries on his work and fends for himself by hidden food from area merchants. In his giveaway time, he attempts to correct an automaton his father discovered from a museum, while perplexing to hedge a hire examiner (Sacha Baron Cohen), a World War we maestro with no magnetism for lawbreakers. When Georges (Ben Kingsley), a toymaker, catches Hugo hidden tools for his automatic man, he recruits him as an partner to repay his debt. If Georges is guarded, his outspoken ward, Isabelle (Chloë Moretz), introduces Hugo to a pleasantly bookseller (Christopher Lee), who leads them to a motion-picture museum, where they accommodate film academician René (Boardwalk Empire's Michael Stuhlbarg). In assisting clear a tip of a automaton, they learn about a roots of cinema, starting with a Lumière brothers, and give a lost film colonize his due, so illustrating a significance of film preservation, a means to that a executive has dedicated his life. If Scorsese's instrumentation of The Invention of Hugo Cabret isn't his many autobiographical work, it only might be his many personal. --Kathleen C. Fennessy
Customer Reviews
Most useful patron reviews
192 of 202 people found a following examination helpful.
By Whitt Patrick Pond
Different people go to a cinema for opposite reasons. Some of us wish to be entertained. Some of us wish to be dazzled. Some of us wish to be vigilant by a story, or by characters that hang in a mind after a film is done. Some of us wish to be ecstatic to a opposite time or place. And some of us wish to see gifted actors emanate a bit of sorcery in a hands of a dictatorial director. Martin Scorsese's Hugo does all of these things. It is, some-more than any other film I've seen this year, _why_ we go to a movies.
The film is formed on a novel The Invention of Hugo Cabret by Brian Selznick. If you've examination a book, afterwards we know a story already, nonetheless for everybody else we am going to be clever here and not exhibit anything that competence spoil a film. we will contend that Hugo is about many things, nonetheless during a heart, it is about obsession, find and how one person's story can lead to - and turn entwined with - another's.
The film is set in Paris in a 1930's, in a railway hire where an waif child named Hugo (engagingly played by Asa Butterfield) lives in a workspaces in a hire walls and in a station's executive clocktower. He spends many of his time gripping a station's clocks using (so that no one will come into a walls or a building and learn his stealing places) and posterior his mania - regulating a man-shaped automaton designed to write with a coop that his father (Jude Law) had found in a museum and was perplexing to correct when he was killed in a fire. To feed himself, Hugo scrounges and pilfers food from a several food shops in a station, that draws a courtesy of a hire examiner (Sacha Baron Cohen). To feed his efforts to correct a automaton, Hugo steals tools from a fondle emporium in a station, run by a aged Papa Georges (Ben Kingsley), who finally catches him in a act. He is befriended nonetheless by Papa Georges' god-daughter, a lady his age named Isabelle (Chloë Grace Moretz), who ends adult assisting Hugo pursue his mania of regulating a automaton. Which, Hugo is convinced, has some tip summary for him left by his late father. Where this eventually leads... you'll have to see a film. Telling we here would customarily hurt a film's fun of discovery.
There are so many good things about Hugo as a film that it's tough to know where to begin. we can during slightest start by observant that a demeanour of a film itself is dazzling. Scorsese creates worlds within worlds, holding we initial behind to Paris in a 1930's and from there into Hugo's dark universe within a walls and time building of a sight station. And from there, other places that are equally wondrous. The 3D is not squandered here and truly adds to a feel of Hugo's universe of slight passages and vast time-keeping mechanisms with their huge nonetheless perplexing gears, springs and pendulums all in motion. And Howard Shore's beautifully crafted low-pitched measure evokes a duration via a film, adding to a feeling of being ecstatic to a opposite time and place.
Another thing that creates Hugo so value observant is that Scorsese is one of those directors who can move out a best opening an actor has in them, that he does a pretentious pursuit of here, from maestro actors like Ben Kingsley and Christopher Lee to analogous newcomers like Asa Butterfield and Chloë Grace Moretz.
And usually as a demeanour of a sets shows his courtesy to detail, a populating of a universe with characters shows it as good as he creates a sight hire come alive with a unchanging denizens, from Sacha Boren Cohen's earnest hire examiner with his leg prop and a flattering immature flower seller Lisette (Emily Mortimer) he personally yearns for, to a comic attempts during intrigue between Monsieur Frick (Richard Griffiths), an aged journal seller who keeps attempting to woo Madame Emile (Frances de la Tour), a cafeteria owners who dotes on her dog who unfortunately attacks Monsieur Frick each time he comes near. Scorsese also works in some famous chronological Parisian residents of a duration into a background, like jazz guitarist Django Reinhardt (Emil Lager), artist Salvador Dali (Ben Addis) and author James Joyce (Robert Gill).
Highly, rarely endorsed for anyone who enjoys movies, and an comprehensive must-see for anyone who loves cinema and what they meant to us.
128 of 142 people found a following examination helpful.
By Ehkzu
Few examination reviews to find out either a reviewer favourite a film. They wish to know either THEY will like a film--to confirm either to see a film or not, and either to see it in a museum or wait and see a DVD (or a download). That's a charge I'll take on here.
As a Rottentomato website has already shown (it assembles and correlates scads of reviews from a press and a web, along with reader responses), a critics venerate this film, a assembly rather reduction so.
Part of this has to do with handling expectations. The selling presents Hugo as an Avatar-ish 3D anticipation with a C3P0 (StarWars)-type drifting robot. this is actively misleading, nonetheless that's not a director's fault.
What Hugo is, is a fable--not a fantasy--that's partial tween journey and partial infomercial for a refuge and observation of aged wordless movies. Most importantly--and this is a indicate that hasn't been done by many reviewers here and elsewhere--it's a film about ex-magician/early filmmaker Georges Meliés that Scorsese made, to a degree, IN THE STYLE of a Georges Meliés movie. That's partial of a homage.
Thus "Hugo" contains a lot of brave running-around, a shining exploitation of a best 3D filmmaking record extant, and a leavening of slapstick elements--particularly from a surprisingly calm Sascha Baron Cohen.
It's a myth formed on genuine events in a early story of movies. "Sleepless in Seattle" was a myth with no anticipation elements other than a happy-ending-inevitability, that we feel from commencement to end. That's a hint of a fable, not either it has anticipation elements or not. A myth is a kind of protocol that reaffirms a tribe's values and faith in a prophesy of life.
Hugo reaffirms faith in goodness--that even in many apparently cruel people there's an coal that can be fanned into life by a right person. The movie's vibe from a initial seconds tells we that we are roving towards a happy ending.
Two Russian intellectuals that we saw a film with hated that fact. They consider a film is impractical unless everyone's doomed, and if you'd grown adult in a Soviet Union that was substantially realistic. Especially given Soviet-era fable-movies did pledge a happy ending--"happy" as tangible by Soviet beliefs during least. So for my friends. fables aren't usually false, nonetheless immorality State Propaganda. And a lot of Americans who imagination themselves egghead have a likewise prejudiced viewpoint about Hollywood's obsession to guaranteed by offshoot or by limb happy endings.
I consider this emanate stems from not discount a protocol effect of fable. we adore picturesque cinema though this pledge of happy outcomes, nonetheless we also adore a good fable. I'm certain of my spouse's adore for me and of my adore for her. I'm certain of a attribute with a closest friends, as they are of us reciprocally. I'm certain of a law-abidingness of my multitude (especially compared to a third-world countries we've trafficked in). Predictable good outcomes are, within reasonable constraints, reasonable to trust in, in many ways.
So "Hugo"'s ultimate predictability is a current artistic choice. It's not a spoiler to contend this since we know it from a start and we should know so we don't upset this with a Sundance-type art film where everybody is confused and faces an capricious future, customarily alone. we apologize for "Hugo" not being a slit-your-wristsathon. we also like such films, and they customarily set your expectations from a start as well, for that matter.
So who will suffer "Hugo" ?
1. Bright tweens. It stars a span of splendid tweens, so this is a natural. Many younger kids will like it as well--it's visually a treat, and it is formed on a kids' story. But duller/much younger/Disneyfied kids who wish nonstop movement and/or a relentless contented movement of a Disney film will substantially find their courtesy erratic in places.
2. Everyone who's meddlesome in a story of filmmaking--particularly right during a beginning.
3. Everyone who's meddlesome in complicated filmmaking. This does paint a comprehensive state of a art in 3D cinematography--where a 3Dness is constituent and roughly taken for granted, not tacked on, not poke-you-in-the-eye, not several layers of 2D images.
4. Everyone who's meddlesome in good myth direction/screenwriting/acting. This is not to contend anyone concerned in this plan can't do naturalistic films or anticipation films, or, in a box of Chloe Grace Moretz, naturalistic anticipation films ("Let me in"). So no negatives are proven here. That said, we trust a casting was mark on for a vital and teenager roles. This is one area where Scorsese didn't duplicate a stagy mugging of Meliés' films (except during re recreations of those films). The large, vigilant close-ups of a vital characters unequivocally unprotected their behaving chops, and all came through. The boy, who I'd never seen before, kept it subtle, as good as a other youthful character, Isabelle (played by Moretz). The immature actors in many youth-oriented films tend to mug--again, Disney film style--and kids who design that need to be prepped by their relatives to demeanour for some-more realistic behaving here.
Who won't adore it?
1. It's not a Selena Gomez/Demi Lovato/Disney vehicle. It's 0 like Lindsay Lohan's smashing "Parent Trap," one of a best of a normal good-quality kids' film. It too is a fable, nonetheless it isn't overlaid with all a things about film story and suchlike. "Hugo"'s ideal child assembly is going to be like Isabelle in a move--sweet, bookish, curious, and not sealed into counterpart enlightenment as a source of all that could presumably be of seductiveness to one.
2. People who don't like a myth genre. The film embeds flattering naturalistic performances and note-perfect sets display a Paris sight hire circa 1931, where many of a movement takes place within a non-naturalistic film fable. There are lots of non-fable films. See one of those unless we unequivocally do wish to see state of a art 3D cinematography and wish to ratchet adult your cessation of dishonesty in sequence to watch this.
3. People with 0 seductiveness in film history. This is where a lot of film critics err. Of march scarcely all of them are preoccupied by early film history. But this film verges on being a high peculiarity 2 hour infomercial for film preservation, and we know, reading this, either such enlarged self-esteem on a partial of a filmmaker towards his middle will intruigued or provoke you.
4. Adults who don't like films starring children. we detect this disposition in people who impugn a performances of "Hugo"'s dual youth leads, who are both exemplary. Also, we hadn't seen a child before, nonetheless we have seen Moretz costarring in a grim, critically acclaimed "Let Me In," in that she portrays--with roughly no discourse and roughly no special effects--a barbarous (literally) nonetheless profoundly conflicted child vampire, and in that those antithetic to balmy endings will get their wishes some-more than satisfied. And in that her coming and opening have been compared agreeably to a unequivocally immature Ingrid Bergman. That is, she has gravitas. Of people in her age bracket, a customarily other actor we can consider of who has that is Hailee Steinfeld (True Grit).
My indicate here is that Moretz's behaving chops are now an determined fact. She has a distant reduction formidable impression to execute in "Hugo," nonetheless even in Isabelle's wide-eyed pre-ingenue purpose she infuses her impression with a kind of resplendence that binds a possess even when she's pity a shade with good adult actors like Ben Kingsley.
5. Adults who customarily wish to see heavily plot-driven films. It's not like "Hugo" is one of those mottled non-narrative films. It tells a story, to be sure. But besides a child-centered account there's a biopic about Georges Meliés (and his wife) here, told in flashback, along with excursions into film history. Some people will find that as abounding as a multicourse meal; others will be angry by "Hugo" not being propelled by a unaccompanied account drive. Such people will lay there observant "All right, Scorsese--get to a point!"
6. Those who are unequivocally demure to compensate to see a film in a theater, even if they're fervent to see it on DVD. we determine with this feeling scarcely all of a time. However, some films are so visually huge--and, especially, if they're 3D and do that well--you need to punch a bullet and see it in a theater, if customarily to examination what it's like in a museum in 3D with what it's like on your prosaic shade TV during home in 2D. Hey, we can always see it in a discount matinee, as we did. But we'll substantially get a DVD when it comes out as well, since it both creates and recalls film history.
36 of 42 people found a following examination helpful.
By James Mulholland
Hopefully "Hugo" finds a new life on Blu-Ray (and 3D Blu-Ray) that it deserves. For some reason, a masses haven't flocked to this film in theaters, nonetheless don't let that dope we into meditative it is second tier in any way. "Hugo" is indeed one of a best films of 2011 and one of a best family films ever (that adults will suffer even more). Most importantly, this is one of a best LOOKING films I've ever seen. James Cameron himself called a film a masterpiece and praised it's use of 3D. As of my essay this we can contend that "Hugo" and "Avatar" are simply a dual best uses of 3D nonetheless seen.
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