★★★ / ★★★★
Hugo Cabret (Asa Butterfield) lived in the walls of a train station with two jobs: winding the clocks that enabled the station to run smoothly and collecting pieces of machines required to fix an automaton that his father (Jude Law) left him before he died. Our young hero believed that the apparatus held a message from his father. But when a toy stand owner (Ben Kingsley) caught Hugo for stealing, his notebook, which contained instructions on how to properly fix the automaton, was confiscated. Based on the novel “The Invention of Hugo Cabret” by Brian Selznick, the film had a firm handle on its visual effects by constructing a world so convincing, the opening shot in which the camera daringly explored the depth of space using 3D technology was completely mesmerizing. My eyes were fixed on the middle of the screen and I felt like the camera’s straight trajectory could go on for miles without sacrificing a pixel of its crispness. The strength of the picture relied on many consistently controlled visual trickery without coming off as too gimmicky. One excellent example was when we followed Hugo in the murky underground levels of the station, up a helix staircase, through giant machineries dancing in perfect rhythm, up until our protagonist stopped to admire the view of the Eiffel Tower. Eventually, though, the picture had to focus on the story which was mixed bag. On one hand, I cared about Hugo. He was a kind person, a bit mousy and reticent, with a prodigious talent for fixing machines. Even though he had to steal things like food, we were on his side because his motivations were clear. We wanted to know the message hidden in the automaton and hoped that it would lead to Hugo no longer having to scavenge, as a rat would, on a daily basis. With the help of Isabelle (Chloë Grace Moretz), the toy stand owner’s goddaughter who craved a bit of adventure, the duo dove into an investigation about the message of the automaton and how the two of them were connected. Their research forced them to cross paths with the Station Inspector (Sacha Baron Cohen), always on the lookout for homeless children to send to the orphanage. It was enjoyable to watch because as Hugo and Isabelle moved from one area to another, the special and visual effects worked on the background which underlined the magic of their journey. On the other hand, the picture had a lesson about film preservation. While I support the idea of protecting old movies from wear and destruction, I found it to be too cloying. Since the issues that the latter half of the picture brought up were so important, Hugo’s story felt small in comparison. While the images were still sophisticated and pleasurable, especially for cinephiles who love old movies, I wanted to know more about the boy and how he planned to move on from the train station if things didn’t work out as he hoped. The character called Monsieur Labisse (Christopher Lee), a librarian, was greatly underused. He seemed to have developed an interest in Hugo, maybe as a protégé or a son, but the scenes the two had together felt underwritten. Based on the screenplay by John Logan and directed by Martin Scorsese, “Hugo,” like the automaton it featured, looked fantastic but the inside didn’t feel complete. It worked as a sensory experience but not an emotional or cerebral one. A mark of a great film touches more than one camp.