planar1280
Banned
getting good vibes about this movie. reviews are amazing so watching this tommorow
Will we get to see Martin Scorsese's tracking shots in 3D? He does them the best.
Will we get to see Martin Scorsese's tracking shots in 3D? He does them the best.
Uh, he doesn't really have anything on Welles.Will we get to see Martin Scorsese's tracking shots in 3D? He does them the best.
Uh, he doesn't really have anything on Welles.
Saw this today because it seemed like the most appropriate family movie. Found it to be rather plodding, over-produced, and commercial. A lot of the moments that try to create tension seem to be grasping at straws, and feel like they miss completely on a technical level. It feels strange to have a movie that sets out to celebrate a very creative and innovative filmmaker be little more than a predictable blockbuster kid's movie (that is probably too boring for the intended audience). Once a valuable object flew up into the air at the camera in 3D and the slow motion kicked in I was ready to write the movie off entirely.
A pretty awkward addition to Scorsese's portfolio, but I can't say I'm surprised after the disaster that was Shutter Island. With Boardwalk Empire still soaring it's kind of hard to really feel too disappointed in him though.
Probably also worth mentioning that I thought the 3D was horrendous. The movie's complete lack of subtlety becomes impossible to ignore with the ham-fisted execution of 3D. Grates are opened into your face, wires, gears, and everything else imaginable hang and tick to produce a depth effect that shows every seam. Many scenes push eyes to multiple focal points to capture the scene rather than offering an easily digestible image.
Loved the film, but I have a question.
In the credits, I saw two actors listed as playing Salvador Dali and James Joyce! Where were they? Did I miss something? Can anyone pinpoint to me when and where they appeared?
It's great to see Scorsese spill out his love and admiration for film on screen. Every scene that focused on the history stuff and not on the actual plot was magical. It's was, like, inspirational to watch. There's one scene in particular - a flashblack where we see Melies creating his films - where I was just enamored. Every time a character talked about old movies or any time they showed clips from old movies, I had a huge smile on my face. I love that kind of stuff, and I love that Scorsese loves it, and I love that he loved it enough to create a movie about it.
That said, Hugo is essentially a brief film history lesson wrapped up in a predictable family story. Not one of Scorsese's best.
According to Moretz's Twitter feed, she's had a giddy few weeks of Katy Perry concerts, Teen Vogue covers ("A Star is Born") and swanky dinners with Chanel in honour of Pedro Almodovar. According to Butterfield's, he's been suffering from double-maths homework and a week of "not talking to anyone" while he and his cousin played the newly released computer game Battlefield 3.
"Wait!" chips in Moretz on hearing this news. "I beat Call of Duty: Modern Warfare 3 in one day."
"That's because," opines Scorsese's new leading man, "Call of Duty: Modern Warfare 3 is for pussies."
AWARDSLINE: How did you feel after watching Avatar?
SCORSESE: There was extraordinary visual storytelling in that picture. Cameron is a great innovator and leader in cinema. It made it (3D) very welcoming. If you suggest 3D, from that point on, it was taken seriously. But I just think 3D is open to any kind of storytelling. It shouldn’t be limited to fantasy or sci-fi. Look at (Werner) Herzog’s use of it (in Cave of Forgotten Dreams), Wim Wenders with Pina. It should be considered a serious narrative element and tool, especially when telling a story with depth as narrative.
AWARDSLINE: Which of your movies might have most benefited from being shot in 3D?
SCORSESE: That’s an interesting question. Let’s see…Aviator, maybe? Maybe Taxi Driver… because of the intimidation of the main character , his presence is everywhere, a frightening kind of presence.
AWARDSLINE: Recently, 3D has been knocked as an excuse for studios to charge higher ticket prices. Now we’re seeing more filmmakers like you, Spielberg, Peter Jackson and Ridley Scott shooting in it. Would you prefer to shoot all your movies in 3D going forward?
SCORSESE: Quite honestly, I would. I don’t think there’s a subject matter that can’t absorb 3D; that can’t tolerate the addition of depth as a storytelling technique. We view everyday life with depth. I think certain subject matters aren’t meant for 3D but you have to go back to Technicolor; when it was used in 1935 with Becky Sharp. For about 10-15 years, Technicolor was relegated to musicals, comedies and westerns. It wasn’t intended for the serious genres, but now everything is in color. And so it’s just a different mindset. Granted once the technology advances and you can eliminates glasses that are hindrances to some moviegoers, so why not? It’s just a natural progression.
AWARDSLINE: You’ve tried to adapt the Shusaku Endo novel Silence, about 17th Century Jesuits who risk their lives to bring Christianity to Japan. It isn’t commercial, it has been hard to finance, but it looks like you’ll finally get your chance to make it. Why has it been so important to you?
SCORSESE: My initial interests in life were very strongly formed by what I took seriously at that time, and 45-50 years ago I was steeped in the Roman Catholic religion. As you get older, ideas go and come. Questions, answers, loss of the answer again and more questions, and this is what really interests me. Yes, the Cinema and the people in my life and my family are most important, but ultimately as you get older, there’s got to be more. Much, much more. The very nature of secularism right now is really fascinating to me, but at the same time do you wipe away what could be more enriching in your life, which is an appreciation or some sort of search for that which is spiritual and transcends? That’s one of the reasons why I made the George Harrison documentary. Silence is just something that I’m drawn to in that way. It’s been an obsession, it has to be done and now is the time to do it. It’s a strong, wonderful true story, a thriller in a way, but it deals with those questions.
AWARDSLINE: Are the questions you’re asking here similar to the questions that drew you to Last Temptation of Christ?
SCORSESE: Yes, but this is a different line of questioning.
AWARDSLINE: We Catholics are always struggling for answers.
SCORSESE: There are no answers. We all know that. You try to live in the grace that you can. But there are no answers, but the point is, you keep looking. Because people tell you science tells us everything. Science doesn’t! They just have discovered these Neutrinos that go faster than the speed of light. And there is this idea that once we got to a point in the mid-20th century and now the 21st century where everything is known in a sense, right? Well, we don’t! We don’t really know everything. I mean, yes, we don’t know what happened in the Big Bang, but we understand the idea of progress. But have we really progressed? We’ve progressed on the outside, but what about inside? What about the soul and the heart? Without trying to sound pompous and ridiculous, I can tell you this is where my interest is.
I really enjoyed this movie. Saw it in 3D(which was really good!). On a side note, I saw the trailer for Titanic 3D. Usually when a movie is converted to 3D it looks a bit off, but that looked like it was filmed in 3D! How did they pull that off?
A really good interview with Scorsese over at Deadline.
http://www.deadline.com/2011/11/osc...re-and-how-taxi-driver-would-have-benefitted/
On Silence:
A lot more at the link.
I just love Scorsese's mind. I can listen to him talk endlessly on any subject.
How the hell is this thread so quiet?
I just got back from seeing it with my younger brother and it was an absolute masterpiece. Scorsese just killed it. Wonderful performances, wonderful visuals, wonderful sound design, wonderful script. It was a real pleasure.
I won't lie, the scene near the end got me really teary eyed.
Martin Scorsese's Hugo only dropped 56% from last Friday compared to Arthur Christmas plummeting 64% and The Muppets nose-diving 77%.
woot!
Didn't it also expand it's theaters?
Going to the theaters Friday with a friend. For those who have seen this and the Muppets, which should I see?
If you're looking for laughs and something more lighthearted, Muppets easily. But Hugo gets the edge for me because it's just more mature and balances a lot more.Going to the theaters Friday with a friend. For those who have seen this and the Muppets, which should I see?
This is basically how I felt about it: loved the cinephile bits; the larger story, not so much.