Stars: Ricky Gervais, Ty Burrell, Tina Fey, Steve Whitmire
Release date: March 21st, 2014
Distributor: Walt Disney Studios Motion Pictures
Running time: 107 minutes
Best part: The kooky humour.
Worst part: The exhaustive length.
Before I delve into the latest Muppet instalment, I’ll state one important fact – all Muppets are puppets, but not all puppets are Muppets. To earn this title, a puppet must earn the skills, know-how, and wit to stand alongside Kermit the Frog, Miss Piggy, and Fozzie Bear. Yes, this review already seems entirely earnest. Perhaps, it’s a bit too serious. However, this series deserves significant credit and attention. This franchise carries people through one decade after another. Despite the old-fashioned humour and dated plot-lines, this series still clings onto its undying charm. Judging by Muppets Most Wanted, this series shows no signs of slowing down…again.
The Muppets are back…yet again!
Created in the 1950s by legendary artist and puppeteer Jim Henson, this franchise touches people’s lives. Whenever Kermit runs across the screen, viewers glue their eyeballs to the screen. With The Muppet Movie and The Great Muppet Caper becoming instant classics, these colourful and spirited characters reside in pop-culture’s all-important aura. However, after seven big-budget movies and long-running TV series’, these characters have lost their intended target audience. Younger generations, judging by Muppets Most Wanted‘s US box office earnings, are neglecting this engaging property. However, 2011’s The Muppets and Muppets Most Wanted prove that older generations still stand by these favourable, felt-lined characters. This movie kicks off one second after the kitsch reboot. At this moment, the Muppet cast realises its true potential. Kickstarting a sequel, the troupe still holds its Vaudeville act close to its heart. At the centre, Kermit looks after everyone. Controlled by tour manager Dominic Badguy (pronounced “Bajee”) (Ricky Gervais), the Muppets are pressured into an around-the-world tour. Travelling, by train (a cracking gag, indeed), from America to Berlin, the crew begins to look to Badguy for guidance. However, made obvious by his kooky name, Badguy is slowly pulling on the thread. Escaping from a Siberian Gulag, villainous frog Constantine heads to Berlin to find Badguy and the Muppets. Sporting a brown mole on his right cheek, Constantine plots to steal from European museums and banks. Swapping out Kermit for Constantine, Badguy wholeheartedly wins the Muppets over. Kermit, residing in a harsh Gulag, is watched over by head prison guard Nadya (Tina Fey).
Ricky Gervais & Constantine.
From there, kooky hijinks, strict investigations, and touching revelations steal the show. With this sequel, director James Bobin and executive producer Nicholas Stoller, carrying on from the original, needed to justify this franchise’s existence. With Jason Segel and Amy Adams stepping down from the fuzz-covered mantle, the Muppets themselves are thrown into leading roles. Thankfully, though not as good as the reboot, this sequel makes several successful and impactful strides. The Muppets, including newbie Walter, highlight our immense preconceptions and the narrative’s more obvious tropes. Backing up the evil doppelgänger and prison escape plot-strands, Interpol agent Jean Pierre Napoleon (Ty Burrell) and Sam the Eagle parody European customs agents whilst investigating crime scenes across the continent. From the opening musical number onward, the movie acknowledges its ridiculousness and semi-unwarranted existence. Thanks to meta-textual humour and self-reflexive characters, this instalment answers to each generation’s requests and complaints. Covered head-to-toe in fur-covered nostalgia, this instalment embraces Gen-X’s infatuation with the seminal troupe. Throwing us into an over-the-top narrative and tried-and-true character arcs, we see this kinetic franchise becoming wiser and heartier with age. Fuelled by determination and joy, these cushy characters bop along at a leisurely pace. Fittingly, the movie, for the most part, heartily clicks during the jokes and musical numbers. Unfortunately, the movie’s 113-minute length delivers too much of a great thing. Stretching the conventional narrative beyond reason, the jokes, conflicts, and motivations become tiresome even before the final 15 minutes.
Of course, Muppets Most Wanted relies on humour, visuals, and all-out chaos. The humour, despite occasionally falling flat, controls this instalment like a puppet on a string. the meta humour and slapstick gags work wonders throughout. Gracefully, the rambunctious surprises and pithy one-liners overshadow the more witless moments. Like with previous Muppet creations, the cameos deliver enjoyable, albeit self-indulgent, gags. Here, lacking the original’s glorious sheen, character actors and TV personalities prance across the screen. Christoph Waltz and Salma Hayek acknowledge The Muppet Show’s eclectic veneer. In addition, stuck with Kermit in the Gulag, Danny Trejo, Ray Liotta, Tom Hiddleston, and Jermaine Clement display their musical theatre chops (who knew, huh?). Speaking of which, the musical numbers, though insightful and clever, never ascend above the original’s catchy interludes. Written and composed by Flight of the Choncords’ Bret McKenzie, these bizarre songs maintain his imaginative and hysterical style. The opening number, ‘Do it all Again’, delivers a zany commentary on Hollywood’s infatuation with sequels, prequels, reboots, established properties etc. Meanwhile, Fey’s seminal number, ‘The Big House’, provides several subversive and light-hearted moments. However, more importantly, Muppets Most Wanted brings back our favourite furry friends. Kermit, voiced by Steve Whitmire this time, undergoes a transcendent journey. Like with previous instalments, the world’s nicest frog underlines the movie’s salient points and overarching messages. His doppelgänger is the franchise’s most engaging new addition. Sporting a thick Russian accent and martial arts skills, his mannerisms deliver major laughs. Interacting with these two, Miss Piggy, Fozzie Bear, Gonzo etc. light up the stage and screen.
Throughout Muppets Most Wanted, this instalment’s cast and crew enthusiastically pat themselves on the back. Elevating this franchise’s already sterling reputation, its self-aware gags, fun musical numbers, and enlightening performances make for a worthy cinematic offering. However, falling short of the reboot’s seminal aura, this sequel proves that, more often than not, original features are almost always better.
Stars: Chris Pratt, Elizabeth Banks, Will Ferrell, Morgan Freeman
Release date: April 3rd, 2014
Distributor: Warner Bros. Pictures
Running time: 100 minutes
Best part: The wink-and-nudge humour.
Worst part: The slightly exasperating length.
One toy company, over past few years, has caused more societal shifts than every government put together. The Lego Group, creating miniature architects and production designers, has an affecting stranglehold on almost every household in the Western World. Venturing into big-budget filmmaking, Lego’s latest spectacle, The Lego Movie, is history’s first BLOCK-buster (you can all have that one!). Fortunately, this animated roller-coaster ride delivers hysterical jokes, fun action sequences, and a modest tone.
Chris Pratt as Emmet Brickowski.
Nowadays, with Lego’s video games (Star Wars, Lord of the Rings etc.) conquering the small screen, this franchise delivers hefty amounts of nostalgia. I grew up with these yellow, plastic men myself. I, normally one to turn my nose up at nostalgia-drenched blockbusters, fell head-over-heels for this enthusiastic thrill-ride. Here, The Lego Group steps back about one-or-two cubit meters. Allowing the cast and crew to show off their unique talents, the multi-billion dollar company is displaying its modest side. This could be seen as an ongoing moment of weakness. However, this is a surprising move for this expansive corporation to undertake. Interestingly enough, the movie comes off as a running commentary on capitalism, industry, and social progress. However, before delving into its thematic relevance, I’ll describe the plot before this review smashes into tiny pieces. The story focuses on kooky everyman Emmet Brickowski (Chris Pratt). Emmet, following orders printed in specialised instruction manuals, fits into his city’s way of life. Listening to pop tunes, buying overpriced coffee, and working at a local construction site, Emmet lacks significant qualities. One day, after running into alluring warrior Wyldstyle (Elizabeth Banks), Emmet discovers the key to the universe’s survival.
Elizabeth Banks & Morgan Freeman.
Labelled “The Special” by the master builder’s leader Vitruvius (Morgan Freeman), and told to collect the fabled “Kragle” weapon, his journey kicks off in spectacular fashion. As you can tell, The Lego Movie‘s plot is lifted from influential action-adventure flicks. Slotting genre tropes and familiar sequences together, the plot rollickingly speeds along toward the explosive climax. In the first third, the Matrix-style narrative kicks into overdrive. Defined by an all-knowing prophecy, the movie is wholly aware of its conventional tropes. Shifting from one action trope to another, The Lego Movie taps into multiple generations’ senses of nostalgia. With Lego being a major part of our childhoods, the movie captures a child’s acute and inventive imagination. Exposing Lego’s lighter and heavier shades, writer/directors Phil Lord and Christopher Miler (Cloudy with a Chance of Meatballs, 21 Jump Street), by throwing these lego creations onto the big screen, accentuate their humorous and clever style. Here, the dynamic duo examines Lego’s pop-cultural impact. Commenting on its own existence, The Lego Movie humbly points out the each twist and turn’s absurdities. This modern animated classic takes its relentless nature and builds upon it. Lord and Miller’s senses of humour place rectangular blocks into affable and important places. Following an intrinsic instruction manual, the duo’s screenplay delivers several eclectic comedic jabs and one-liners. Admittedly, it’s shameful to criticise The Lego Movie for its silliness. Basing a big-budget extravaganza on a famous toy, Lord and Miller keep up the tempo throughout its extensive run-time.
“Whoa, are we inside my brain right now? It’s big. I must be smart.” (Emmet Brickowski (Chris Pratt), The Lego Movie).
Will Ferrell & Liam Neeson.
Fortunately, Lord and Miller, saving this plot from falling apart, kickstart one action sequence after another. After zany characters like Good Cop/Bad Cop (Liam Neeson) and Batman (Will Arnett) are introduced, certain set pieces fit together seamlessly. Developing a gigantic chase across multiple worlds, these set pieces mix humour, stellar animation, and stylish choreography. The Old West jet battle, featuring a steam train, police planes, and the Batmobile, is an early highlight. Beyond the pulsating action sequences, the animation style enthusiastically bolsters this questionable premise. Fusing CG animation, stop-motion effects, and detailed miniatures, Lord and Miller’s Lego universe is chock-a-block (zing!) with surprises and exhilarating moments. Venturing into “Middle Zealand”, the high seas, and corporate mogul Lord Business(Will Ferrell)’s lair, The Lego Movie trounces Pixar’s more recent efforts. In addition, the little yellow figures, stuck in these chaotic events, are the movie’s most engaging creations. Tapping into Lego’s extensive history, the cast list includes the 2002 NBA All-stars, Michelangelo, Abraham Lincoln, 80s-something spaceman (Charlie Day) and Princess Unikitty (Alison Brie). Beyond this, the movie provides a meta-commentary on Warner Bros. properties. Along with characters from Star Wars, Harry Potter, and LOTR, the movie comes close to creating a Justice League spinoff. Superman (Channing Tatum), Green Lantern (Jonah Hill), and Wonder Woman (Cobie Smulders) are welcome additions. Eclipsing these references, the lead voices cap-off this wondrous comedy. Pratt, Banks, Arnett, Freeman, and Neeson stretch their immense acting talents in these enlightening roles
By all means, The Lego Movie should’ve bombed spectacularly. At first, this overwhelming concept seemed like nothing more than a cheap gimmick. However, put in Lord and Miller’s careful hands, this animated gem, from its conquering landscapes to slick vehicles, has been built with precision, imagination, and care. Of course, credit also belongs to Pratt and co. for bringing these plastic heroes and villains to life. This may be cheesy, but this Lego creation reaches skyscraper-level heights.
Verdict: A humorous and enjoyable animated adventure.
Stars: Sarah Polley, Michael Polley, Harry Gulkin, Rebecca Jenkins
Release date: May 17th, 2013
Distributors: Mongrel Media, Roadside Attractions
Running time: 109 minutes
Best part: The catchy soundtrack.
Worst part: The never-ending ending.
The holiday season, though imbued with joy and charm, can become a tiresome chore. Transporting us between realistic and heart-wrenching realms, independent drama darling Sarah Polley has returned home. With family reunions normally regrettable and unintentionally laughable, Polley prevents family members and friends from starting gigantic feuds and running jokes. Here, Polley’s immense talents are applied to her confident and loveable family. Her latest effort, Stories We Tell, paints an emotionally charged portrait of life in the Polley household. With serious Oscar contention in sight, Stories We Tell is a frontrunner for this season’s generous rewards.
This dramatic-documentary delves into several noteworthy and confronting topics. With Polley embracing her directing, writing, and acting chops, the movie is unlike any other released this decade. Despite its relevance, the story necessarily and patiently absorbs its subjects’ enthralling words. Stories We Tellis about Polley’s assortment of charismatic relatives and the documentary filmmaking process itself. Challenging herself throughout each extraneous step, Polley’s motivations specifically rely on honouring her late mother Diane. Having died when Polley was eleven, Diane’s overt generosity and happiness touched many lives. Taking on this immense task, the movie kicks off with its subjects facing up to Polley’s talented production crew and intense questioning. Once the filmmaking boundaries are established, the movie allows each subject to open up about the pros and cons of family values, responsibility, and trust. Providing a memoir-like narration, Polley’s father Richard sits in a recording studio. Waiting to talk into the microphone, Richard deliberates on everything embedded in his consciousness. Providing a poetic foothold, his words soon delve into the infectious tale of Polley’s childhood. Not to be overshadowed, her siblings are given room to breathe. Her brothers, Mark and John, discuss important issues developed during their childhood years. These undead titbits, though simultaneously hilarious and distressing, develop the intriguing narrative.
Despite her brothers’ good-natured attitudes, Polley’s likeable sisters, Susy and Joanna, further develop this expansive and mystifying tale. Deliberating on love, divorce, and redemption, the sisters’ testimonies link certain situations to Polley’s life story. In addition, she interviews several people involved with Diane’s acting and singing careers. With familial ties an out-stretched theme this holiday season; Stories We Tell is an ambitious, realistic, and loving portrait of an infectious ensemble. Guided by experience and will power, Polley conscientiously seeks out the truth. No matter the cost to her family’s brick-wall-like structure, she explores every nook and cranny of her subjects’ lives. This honest and dense documentary hurriedly grows a brain and heart. It’s easy to connect to this bunch of charming and surprising subjects. Polley’s career, ranging from star-studded directorial efforts (Take this Waltz) to acclaim-worthy performances (Go, Splice), has blossomed into a commendable and impassioned artistic endeavour. Here, Polley tirelessly pushes herself to honour her family’s name. After the comedic and fourth-wall-breaking opening, the movie delves into anecdotes and points of view. Objectively presenting Diane’s friends and relatives, this performative/investigatory documentary highlights the genre’s raw potential. Elaborating on this format’s glowing intricacies, Stories We Tell provides a though examination of art, life, secrets, and the human spirit. Ably presenting each step of her grand methodology, the end profoundly justifies the means. With a close connection to these subjects, Polley’s style lures us into this family’s past, present, and future. Thanks to its empathetic and heartening narrative, the movie’s cracking pace and revelations comfortingly push it along. With each twist and turn, I heard titters, gasps, and cheers from several overly-enthused, surrounding audience members. Despite the disturbances, it inexplicably enhanced the movie’s hard-hitting narrative. With its pleasant tone and messages, it reminded me that life’s smallest intricacies are immensely important to the bigger picture.
“I’m interested in the way we tell stories about our lives.” (Sarah Polley, Stories We Tell).
Rebecca Jenkins as Diane Polley.
Continually sidestepping documentary movie-making’s restrictions, Stories We Tell discusses subjectivity, memory, and humanity’s overwhelming importance. The medium, considered plain and tiresome by some, is pulled apart with Polley’s ingenious directorial nuances. With some pans, zooms, and tilts, the movie hysterically shatters its own immersive effects. With each subject questioning this topic’s worthiness, the movie develops engaging, definitive, and intelligible layers. While peeling back these layers, Polley’s quirky style draws a profoundly sentimental line between her latest work and its commendable Oscar-hungry competition. Thankfully, the movie’s visual touches don’t overshadow the all-important messages. Developing a titanic, tug-of-war struggle between archival footage and elaborate dramatisations, this drama-documentary constantly plays tricks on the unsuspecting audience. With seamless aesthetic ticks, the flashbacks sit comfortably with this tender and enrapturing story. Revealing the movie’s own secrets during the conclusion, Polley’s filmmaking techniques stand up to this extraordinary tale. Handheld cameras, distinct film grains, and period piece settings are key aspects of Polley’s impressive vision. However, despite obvious visual flourishes, this trip down memory lane almost unravels during the final few minutes. The ending, relaying the movie’s seminal themes with incessant monologues and symbols, throws this heartening documentary off balance. Despite this, the interviewees solidify Polley’s ambitious and conquering investigation. Revealing secrets and in-jokes to the world, her relatives laugh with, and at, Polley throughout this unique production. Anecdotes and revelations aside, certain interviewees’ characteristics make for intriguing and unsettling highlights. Sporting beaming smiles, hearty laughs, and kinetic personalities, Polley’s family members are engaging and likeable people.
Flicking through interviewees, anecdotes, and opinions, Stories We Tell provides one of modern cinema’s most dynamic and baffling stories. Polley – holding her family, friends, and colleagues in high regard – injects sensitivity, intelligence, and wit into this tear-jerking adventure. With its engaging visual style, interesting interviewees, and determined direction, this drama-documentary proves that truth really is stranger than fiction.
Stars: Vince Vaughn, Chris Pratt, Cobie Smulders, Andrzej Blumenfeld
Release date: November 22nd, 2013
Distributor: Walt Disney Studios Motion Pictures
Running time: 104 minutes
Best part: The fun performances.
Worst part: The repetitive gags.
I let out an audible groan after I first heard about Delivery Man‘s existence. As a remake of the 2011 French-Canadian comedy Starbuck, the premise seemed entirely conventional and cynical. Soon after, I became more disdainful when comedic actor Vince Vaughn attached himself to the project. Somehow, by the powers of Grayskull and tinsel-town, this blatant re-tread turned out to be…genuinely watchable. Delivery Man is a generic yet enjoyably silly and heart-warming dramedy. In addition, Vaughn, though straining, wholeheartedly elevates the final product.
Despite the inconsistencies and awkward moments, Delivery Man embraces every second of its appropriate run-time. Unlike most Hollywood comedies, the movie contains enough laughs to keep audiences engaged. As seen in the trailers, the plot contains several twists, turns, and bumps. Good-for-nothing slacker David Wosniak (Vaughn) ambitiously strives to obtain a more fulfilling existence. Constantly letting people down, David’s reserve is tested by his frustrated family and friends. If that wasn’t enough, his ‘hydroponic endeavours’ have landed him in an $80 000 debt with local gangsters. On top of that, David’s world is sent spinning when his estranged girlfriend Emma (Cobie Smulders) reveals she is pregnant. With an oncoming child, David admits he is unprepared and outgunned for his life’s next step. Unfortunately, his past comes back to haunt him. Thanks to a whopping 693 sperm donations given during his student years, his samples have created a baffling 533 biological children. Burdened by the strange news, David becomes a wishful saviour for several of the identified children.
Vaughn & Chris Pratt.
With 124 of David’s offspring joining a class action lawsuit against the sperm bank and the persona known only as “Starbuck”, David’s dilemma becomes increasingly stressful. With the help of lawyer and life-long buddy Brett (Chris Pratt), David, known to make poor decisions in high-pressure situations, crusades against the sperm bank. Before this, however, the movie leans too much on predictability and emotional manipulation. Hurriedly laying down every plot-thread, the movie constantly deliberates on David’s ever-expanding problems. Within the first few minutes, this dramedy beats is lead character to a pulp. Thankfully, in trouble with all manner of good and bad citizens, David’s journey contains potential, heart, and relevance. Writer/director Ken Scott gives his original feature a big-budget face-lift. Starbuck, being a sleeper-hit across the globe, highlights suburbia and the first world order’s most iconic aspects. Here, family businesses, parenthood, and the American dream are treated with affection and an attention to detail. Sporting a democratic agenda, Scott’s direction present’s David’s pressing situation as a series of mild inconveniences. Certain story-lines are picked up and dropped without warning. Unfortunately, these sub-plots contain dramatic and comedic potential. The mobster plot-strand is a contrived and unnecessary distraction. However, this optimistic dramedy contains several vital messages. Scott’s perspective, discussing parenthood and responsibility, provides a ray of glorious and gleeful sunshine. Despite the pros and cons of children, relationships, and hard work, Scott still delivers a well-crafted and thoughtful farce. In multiple ways, Delivery Man borrows from other beloved big-budget dramedies. Despite its French-Canadian roots, this ode to Knocked Up and About a Boy becomes a light-hearted and impactful narrative.
“This could be the most be the beautiful thing that could ever happened to me. These kids ned someone to look out for them. They need a guardian angel.” (David Wosniak (Vince Vaughn), The Delivery Man).
Vaughn & the kids.
Here, unlike the aforementioned dramedies, the lead character starts out as a likeable and engaging presence. Unfortunately, his journey becomes increasingly ridiculous and bombastic up until its sweet denouement. David’s questionable antics turn him from a humanistic man-child to a well-meaning stalker. With each baffling twist and turn, the movie steadily loses its dry wit and quaint tone. Despite the overt cheesiness, the dramatic moments elevate this otherwise forgettable remake. Despite the bizarre situation, David’s motivations make for Delivery Man‘s most touching sequences. David, taking care of a young Down syndrome sufferer, becomes a good samaritan. These wordless scenes lend heart and intelligence to this wacky dramedy. Despite its charming sheen, the hit-and-miss humour restrains it. Vaughn’s sarcastic veneer elevates the derivative one-liners and ludicrous slapstick gags. His situation, illustrated by Vaughn’s zany facial expressions and enthusiasm, is made whole by Scott’s kinetic and enlightening comedic timing. As an improv vs. staged gag Hollywood comedy (like most nowadays), the pithy dialogue far outweighs the repetitive physical hijinks. Vaughn is, yet again, playing himself. Despite his overt charisma and rat-tat-tat delivery, he’s embodying yet another spoiled and down-trodden man-child. Learning important life lessons whilst maturing into a responsible individual, Vaughn can play this role in his sleep. Thankfully, the supporting characters save certain scenes. Pratt excels as David’s goofy and unprofessional lawyer. His magnetic screen presence, made whole via Parks and Recreation, boosts this sympathetic and engaging foil. Smulders, known for How I Met your Mother and The Avengers, provides an enjoyable performance as David’s better half.
Despite the obvious issues, Delivery Man is a well-intentioned and charming holiday hit. Vaughn – despite his poor run of comedies including The Dilemma, The Watch, and The Internship – elevates the conventional material. This remake, though unnecessary, becomes a refreshing and comforting flick out-matching most modern Hollywood comedies.
With the laundry list of classic films to his credit, Martin Scorsese would seem like a perfect choice to direct both a charming kids film and a subtle homage to the origin of cinema. He has pulled this off with Hugo, a slapstick filled, heart-warming adventure perfect for the family.
sa Butterfield & Chloe Grace Moretz.
The adventures of Hugo Cabaret (Asa Butterfield) start out in Montparnasse Railway Station in Paris. Using the station as his home, he navigates his way around in perfect precision; dodging the wacky but vicious handicapped station inspector (Sacha Baron Cohen), stealing from shop owners and changing the clocks in the station everyday. After being caught stealing by miserable toy shop owner George (Ben Kingsley), he not only forms an uneasy truce with him but creates a bond with his god-daughter Isabelle (Chloe Grace Moretz). Their bond is brought together by their love of storytelling and the longing for excitement. In their discoveries, involving the history of film, they find that there is more to the grumpy George than they ever could have imagined.
Based on the book The Invention of Hugo Cabaret by Brian Sleznik, the film perfectly captures the imagination of a child exploring this world. A comfortable look of 1930’s Paris created by constant panning and tracking shots of the station, its zany companions, a mostly up beat piano and accordion based score and a fun assortment of slapstick gags and supporting characters create a living, breathing setting to Hugo. Despite the consistently funny gags and an ever charming cast, some of the characters, such as Hugo’s father (Jude Law), kind book store owner Monsieur Labisse (Christopher Lee) and Hugo’s caretaker Uncle Claude (Ray Winstone) sadly get short shrift. The short stories involving the supporting characters tend to slow the film down and fail to end with a satisfying payoff. The story of Hugo and Isabelle discovering film history is the most beguiling aspect of the story. Despite the film’s slow first half, describing Hugo’s love for an automaton left to him after the death of his father, the second half picks up, subtly cross cutting classic film references together with their discoveries as we follow a race through a time in film history. Hugo is a delight for film buffs and the wider audience alike. Scorsese’s style, of consistently immersive 3D effects and CGI backgrounds mixed in with simple overlapping editing effects and stop motion animation, illustrates the importance of technological achievements throughout film history.
“My life has taught me one lesson, Hugo Cabret, and not the one I thought it would. Happy endings only happen in the movies.” (Georges Melies (Ben Kingsley), Hugo).
Sacha Baron Cohen.
References are consistent as we see the first films and how they captured the imaginations of the early film going audiences. Scenes describing the effect of Arrival of a Train at La Ciotat and the clock hand sequence from Safety Last!, delicately illustrate the origin and illusion of cinema to a modern audience. References to Charlie Chaplin, Harold Lloyd, the Lumiere Brothers and to a greater extent George Melies are also peppered throughout this film as modern technology and Hugo’s love of cinema explain their significance in film history. The second half of the film is a delight as we see the rise and fall story of the first formalist director, George Melies. Scorsese’s re-creations of Melies’ efficient editing techniques and extravagant set and costume designs light up the screen. Scorsese’s vision is on show in every frame. From the brown and blue colour palette made famous by Scorsese in The Aviator, to the explained and unexplained references and the uplifting story of two bright kids on a whirlwind adventure in a bustling train station. Just like Hugo spying on others through holes in walls and clocks, the audience plays the part of Scorsese in being able to peer into his vision of both a Jean Pierre Jeunet like Paris and a homage to his childhood fantasies brought to life by the earliest films.
Despite the long-lasting thirst for power and blood, Scorsese’s filmography is chock-a-block with game-changers and out-of-the-box surprises. Diving into new territory, Hugo is a fun, rousing assault on the senses.
Verdict: An intelligent and heartfelt family flick.