Martin Scorsese’s “Hugo” is a fantastic, imaginative adventure that will likely stand out as one of the highlights of the legendary director’s career. “Hugo” is a magical journey that all can enjoy; an adventure of resolution, redemption, and a pure glimpse into the heart of one of cinema’s greatest directors.
“Hugo” is the story of a young orphan, Hugo Cabret, who lives in the clocks of a train station in a highly stylized rendition of 1930s Paris. In addition to attending to the station’s clock system, he uses it to navigate around the station, and steals bits of machinery from a toymaker’s shop, in hopes of repairing an automaton  left behind by his, in the slight hope it may contain a message from him.
At its core the movie contains a strong message about the power of film; it’s ability to both create and fulfill dreams. It’s Scorsese’s love letter to his medium, especially its early years. He uses a movie with a broad target audience to show us the birth of the art form, and to encourage tangental learning on the subject. But beyond teaching the audience film history, Scorsese uses “Hugo” to preach, in the best possible sense of the word, about film preservation, a cause that Scorsese has mastheaded for much of his career.
Asa Butterfield takes on the titular role of the film, a character that would prove challenging to a veteran actor, let alone a 14-year-old with only one notable role under his belt. But Butterfield encompasses the role with a natural ease. Chloë Moretz, as always, plays her character with a startling level of maturity for someone her age, counter balanced with a wide eyed enthusiasm for everything she encounters. Ben Kingsley brings his A-game to the aged toymaker Papa Georges. I am admittedly not a fan of Borat’s Sacha Baron Cohen, and at first his portrayal of the Station Inspector came off as a hammy knockoff of Inspector Clouseau, but it was only a matter of time until the heart of the character came through, and even I couldn’t help smiling at Cohen’s performance.
“Hugo” marks not only Scorsese’s first foray into family-friendly films, but his first time behind a 3D camera. Scorsese’s signature tracking shots excel in 3D, whether working its way through the bustling train station, or floating through the intricate machinery of the clocks or the streets of Paris, Scorsese and cinematographer Robert Richardson’s shots are some of the most beautiful images to grace a 3D movie screen. In particular, the sequences where the classic films are brought to life in 3D adds a whole new level to the magic to the piece.
Don’t think that because Scorsese has ventured into family friendly movies that this is a ‘kiddie movie.’ “Hugo” retains the depth and maturity present in any of Scorsese’s darker films. The story is heartfelt, with some truly touching, tragic and uplifting moments. The characters feel like real, fleshed out people from the first moment they appear onscreen. Everyone involved has approached every aspect of the film with genuine love and care, and it shows.
“Hugo” is a film  everyone can and should enjoy. It has a great story and an important message that is brought to the screen by one of the greatest creative minds to work in the field.
-Noah Diamond-Stolzman