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/Film: ‘Hugo’ Review

/Film: One of cinema’s great powers is the ability to transport. Martin Scorsese has typically been concerned with bringing us to places that are recognizably real, such as the streets of New York, whether in an era modern (Mean Streets, Goodfellas) or bygone (The Age of Innocence, Gangs of New York). Hugo seems like new ground at first, as it is set in a vision of ‘30s Paris that is exaggerated to almost a movie-musical degree. This Paris is populated by what initially seem to be character types that circle around one another in such a way that I wouldn’t have been surprised to see them break into dance numbers.

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