Creation is something that confidently allows us to succumb from our limitations by making us feel
like we are spreading our wings. It doesn't matter if it is a making a film or becoming a
mechanic, it is our outlet to genuinely bring out our true souls. However, without that fuel, we become like prisoners in a jail because prison can mentally and physicially suck out that power.
You can tell that Hugo feels alive when he creates as we see in a flashback sequence when he is building the automaton with his now-deceased father or when he is finding out the film career of Georges Meilies. Without that creation, there is also a sense of discouragement that gets to him when he feels bad that he might not be able to get the key to build it.
This situation just doesn't apply to Hugo, but also it applies to me as I am using my passion
for writing to express myself as well as Meilies himself and his passion for film.
When it comes to children's films, they make me feel disgusted about my childhood because in their despicable opinion, childhood to them was like a innocence-free dead zone filled with lifeless plot-motivated situations involving 1.)Adults who are either brain dead about what their kids are doing or bad-guyed stricken monsters who disturbingly try to kill kids. 2.)Kids with a forced and predictably vile lack of authority when it comes to disrespecting adults
and having no awareness in them as if the plot is brainwashing them to make them feel like kids only act like that.
3.)A one-sided cynical feeling that feels misplaced to where it feels like a person is wearing clothes that don't fit together which makes me ask this question, how would kids stomach this dreary cynicism in material that caters to them?
This added to my worries as I felt scared for Scorsese because I thought that he was going to take the easy route like many legends by selling out his soul to reach out to those who usually feel oddly entertained by these hypocritical statements that pretend that they are for them.
In addition to confidently immersing myself in his complex human grit in films like Taxi Driver along with Robert DeNiro's academy award winning performance as real life boxer Jake LaMotta in Raging Bull.
However, a surprise melted my heart when I went out to see the film at Edwards' cinema in the day after Thanksgiving and it had something to do with Scorsese's bravery to vivaciously stay true to himself within the exterior of commercial excess.
Based on the book, "The Invention of Hugo Cabret" by Brian Selznick, (a book I haven't read but will later)he along with Screenwriter John Logan who worked with him to an Oscar nomination in the Howard Hughes' biopic, The Aviator, do something that is rare in children's films and that is by internally with a fleshed out sense of place, taking you on a intercaspule to 1930's Paris that
makes you feel like are at home in your mind by feeling a cooperative partnership of reality and innocence of what it means to create film as well as any type of art at that time.
Due to the fact that both are cooperating very well together, Scorsese made me relate and care without forcing me to do so about both the authentic excitement of Hugo's adventure by making me feel like a kid at heart as well as his well-realized struggles to create without his father. I also felt awed at Georges' past career as a prodigy of a filmmaker along with reaching out to him like a friend as I cared about his lack of innocence in the present day since he lost that juice.
Since there is no side of the story that is self-indulgently over one another, all the Scorsese fans and little kids will unpredictably feel emotional, intelligent and excited at the experience. The man himself sure is versatile!
He also shows his technical prowess too as he and his crew of wizards including his long time editing partner Thelma Schoonmaker, cinematographer Robert Richardson and composer Howard Shore bring tasty precision to your full involvement in Hugo's world. Scorsese makes sure that they do everything with respect for the story whether it is Schoonmaker adding pizazz by using her effective continuity editing to make sure that you follow the characters with empathy,
Shore with his gorgeous orchestral melodies that always stay on key with the ideas as well as Richardson using blue tones, exhilarating interior and exterior shots and wide-angle shots of the buildings thus making you feel apart of the culture of Paris.
3D can dilute whatever type of storytelling abilities that other directors seem to have since they just love to throw nonsensical images at you and me at the expense of frittering away their respect for their art due to concerns of box office.
At the same time, knowing Scorsese's passion for what he does, the 3D in this film blows other uses out of the water as he adds his own flavor to the gimmick by showing that these images come with a reason and that is by effectively serving Hugo's desperate search for adventure in his life. I didn't mind since I was into the adventure underneath these images and glasses.
The performances feel unified to the creative juice to the story. I feel like Asa Butterfield exhibits confidence, humor, and vulnerability to the title role as I related to his happiness in addition to desperation to create. Equally effective is Chloe Grace Moretz who is proving that kids can act, effectively believes that Isabelle is caring, gregarious, and adventurous in Paris. Combined, they are worked as a team with their sense of genuine empathy of adventure and they are on par with Natalie Wood's radiant Susan in the original Miracle on 34th Street.
Oscar Winner Ben Kingsley was definitely the scene stealer here as he challenged me to understand the complex reasoning behind Georges dissonance in life. Sacha Baron Cohen convinced me that he can add humor and feeling in the skeleton of a predictable madcap villain.
Watching Hugo, I felt like I was surrounded with a world that was striving to bring the love of film and creativity in their lives as I shared it with them with the same spirit.
like we are spreading our wings. It doesn't matter if it is a making a film or becoming a
mechanic, it is our outlet to genuinely bring out our true souls. However, without that fuel, we become like prisoners in a jail because prison can mentally and physicially suck out that power.
You can tell that Hugo feels alive when he creates as we see in a flashback sequence when he is building the automaton with his now-deceased father or when he is finding out the film career of Georges Meilies. Without that creation, there is also a sense of discouragement that gets to him when he feels bad that he might not be able to get the key to build it.
This situation just doesn't apply to Hugo, but also it applies to me as I am using my passion
for writing to express myself as well as Meilies himself and his passion for film.
When it comes to children's films, they make me feel disgusted about my childhood because in their despicable opinion, childhood to them was like a innocence-free dead zone filled with lifeless plot-motivated situations involving 1.)Adults who are either brain dead about what their kids are doing or bad-guyed stricken monsters who disturbingly try to kill kids. 2.)Kids with a forced and predictably vile lack of authority when it comes to disrespecting adults
and having no awareness in them as if the plot is brainwashing them to make them feel like kids only act like that.
3.)A one-sided cynical feeling that feels misplaced to where it feels like a person is wearing clothes that don't fit together which makes me ask this question, how would kids stomach this dreary cynicism in material that caters to them?
This added to my worries as I felt scared for Scorsese because I thought that he was going to take the easy route like many legends by selling out his soul to reach out to those who usually feel oddly entertained by these hypocritical statements that pretend that they are for them.
In addition to confidently immersing myself in his complex human grit in films like Taxi Driver along with Robert DeNiro's academy award winning performance as real life boxer Jake LaMotta in Raging Bull.
However, a surprise melted my heart when I went out to see the film at Edwards' cinema in the day after Thanksgiving and it had something to do with Scorsese's bravery to vivaciously stay true to himself within the exterior of commercial excess.
Based on the book, "The Invention of Hugo Cabret" by Brian Selznick, (a book I haven't read but will later)he along with Screenwriter John Logan who worked with him to an Oscar nomination in the Howard Hughes' biopic, The Aviator, do something that is rare in children's films and that is by internally with a fleshed out sense of place, taking you on a intercaspule to 1930's Paris that
makes you feel like are at home in your mind by feeling a cooperative partnership of reality and innocence of what it means to create film as well as any type of art at that time.
Due to the fact that both are cooperating very well together, Scorsese made me relate and care without forcing me to do so about both the authentic excitement of Hugo's adventure by making me feel like a kid at heart as well as his well-realized struggles to create without his father. I also felt awed at Georges' past career as a prodigy of a filmmaker along with reaching out to him like a friend as I cared about his lack of innocence in the present day since he lost that juice.
Since there is no side of the story that is self-indulgently over one another, all the Scorsese fans and little kids will unpredictably feel emotional, intelligent and excited at the experience. The man himself sure is versatile!
He also shows his technical prowess too as he and his crew of wizards including his long time editing partner Thelma Schoonmaker, cinematographer Robert Richardson and composer Howard Shore bring tasty precision to your full involvement in Hugo's world. Scorsese makes sure that they do everything with respect for the story whether it is Schoonmaker adding pizazz by using her effective continuity editing to make sure that you follow the characters with empathy,
Shore with his gorgeous orchestral melodies that always stay on key with the ideas as well as Richardson using blue tones, exhilarating interior and exterior shots and wide-angle shots of the buildings thus making you feel apart of the culture of Paris.
3D can dilute whatever type of storytelling abilities that other directors seem to have since they just love to throw nonsensical images at you and me at the expense of frittering away their respect for their art due to concerns of box office.
At the same time, knowing Scorsese's passion for what he does, the 3D in this film blows other uses out of the water as he adds his own flavor to the gimmick by showing that these images come with a reason and that is by effectively serving Hugo's desperate search for adventure in his life. I didn't mind since I was into the adventure underneath these images and glasses.
The performances feel unified to the creative juice to the story. I feel like Asa Butterfield exhibits confidence, humor, and vulnerability to the title role as I related to his happiness in addition to desperation to create. Equally effective is Chloe Grace Moretz who is proving that kids can act, effectively believes that Isabelle is caring, gregarious, and adventurous in Paris. Combined, they are worked as a team with their sense of genuine empathy of adventure and they are on par with Natalie Wood's radiant Susan in the original Miracle on 34th Street.
Oscar Winner Ben Kingsley was definitely the scene stealer here as he challenged me to understand the complex reasoning behind Georges dissonance in life. Sacha Baron Cohen convinced me that he can add humor and feeling in the skeleton of a predictable madcap villain.
Watching Hugo, I felt like I was surrounded with a world that was striving to bring the love of film and creativity in their lives as I shared it with them with the same spirit.
Top Box Office
- 1.$70.2M
- 2.$35.8M
- 3.$23.9M
- 4.$3.2M
- 5.$3.0M
- 6.$2.8M
- 7.$2.3M
- 8.$2.2M
- 9.$2.2M
- 10.$1.2M