--- title: "Hugo" year: 2011 kind: "film" canonical: "https://film.one/film/hugo" fi1m_score: 70 critics_score: 70 critics_reviews: 20 published: "2026-09-17T00:48:27.778305+00:00" updated: "2026-09-17T00:48:28.370247+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Hugo (2011) Directed by Martin Scorsese · 2h 06m · MPA PG · Adventure, Drama, Family **Fi1m score: 70** · Critics 70 from 20 reviews *In a sentence:* Sacha Baron Cohen’s dog does most of the running and Ben Kingsley does all of the feeling > Scorsese’s film for children is handsomely built and means every word of it. The trouble is how many words there are: by the last half hour it has stopped telling a story and started giving a lesson. ## Synopsis Paris, the early 1930s. Hugo Cabret (Asa Butterfield) lives hidden in the walls of a great railway station, winding its clocks in place of his drunken Uncle Claude (Ray Winstone) and stealing croissants from the concourse. His father (Jude Law), a clockmaker, has died and left him a broken clockwork man and a notebook of drawings for mending it. Hugo steals the parts he needs from a toy booth run by the bitter Georges Méliès (Ben Kingsley), who catches him, confiscates the notebook and puts him to work. Méliès’s goddaughter Isabelle (Chloë Grace Moretz) takes the boy’s side, while the Station Inspector (Sacha Baron Cohen) and his dog patrol the platforms for orphans to send away. ## Review Martin Scorsese has made a film with a U certificate, and the surprise lasts about as long as the opening shot. Robert Richardson’s camera drops out of the sky over Paris in the 1930s, plunges through the concourse of a great railway station and climbs into the face of a clock, where a boy is watching through the numeral four. *Hugo*, written by John Logan, is Scorsese doing what he has always done, which is love films out loud. It is warm and beautifully made, and about thirty of its 126 minutes are spent explaining what the rest has already shown us. Hugo Cabret (Asa Butterfield) lives in the walls of the station, winding the clocks his drunk Uncle Claude (Ray Winstone) has abandoned, and stealing what he needs. Mostly that is small brass parts, because his late father (Jude Law) left him a broken automaton and a notebook of drawings for mending it. The parts come from a toy booth kept by a sour old man (Ben Kingsley) who catches him, takes the notebook and threatens to burn it. Butterfield plays Hugo as a watcher, pale and careful, and the camera likes his face more than the script does. Silent, he is good; asked to say what he feels, he says it like a line. Kingsley is the reason to watch. His past is given away at the halfway point, so we will leave it there; Kingsley plays him as someone who has decided to be bitter and is finding it hard work. There is a moment early on, in the booth, when he looks at the boy’s notebook and his hands stop, and we felt the whole film turn on it before a word was said. Chloë Grace Moretz, as his goddaughter Isabelle, has been given a bookish girl who says “clandestine” and means it as friendship. It is a written idea of a child, and she carries it with more grace than it deserves. Dante Ferretti has built the station as a small city, with cafés and a flower stall on the concourse, and behind the walls a second city of gears, ladders and steam. Sandy Powell dresses the crowds in browns and dusty blues. The 3D is used for depth rather than for things flying at us: snow falling between us and the glass, a corridor of cogs receding into the dark. Howard Shore’s score is accordion and waltz and it does not stop, which suits the first hour and wears by the second. Sacha Baron Cohen’s Station Inspector, with his leg brace, his Doberman and his temper, is meant to be the film’s comic engine, and he is funny about one time in three. The chases through the concourse, which Thelma Schoonmaker cuts fast and clean, are the film’s idea of what children want, and there are too many of them. His shy courtship of the flower seller Lisette (Emily Mortimer) is sweeter than anything in the chases, and gets a fraction of the time. The second half is where Scorsese’s own passion takes over. There is a sequence recreating an early film studio, a glass house full of painted sets, mermaids, moon-men and a man in a lobster suit, and it moved us more than we expected, because here is a director showing us the thing he loves being made by hand. Then Logan’s script has Michael Stuhlbarg’s René Tabard, a film historian, sit the children down and explain what they and we have just felt. A film about how pictures can speak without words does not, in the end, trust its own pictures. Against Scorsese’s own record this sits nearest [*The Age of Innocence*](https://film.one/film/the-age-of-innocence) (1993): a period picture that cares about objects and light and is in no hurry. Children under eight will fidget through the middle stretch; adults who love old films will forgive it almost everything. Watch it with a child who asks questions, and be ready for the film to answer most of them before the child can. It carries a U. *Fi1m score 70, published 17 September 2026.* ## What the critics say Most critics warm to Hugo, and the praise gathers in two places. The first is the 3D, which nearly every review, including the hostile ones, credits Scorsese with using thoughtfully rather than as a gimmick. The second is the film’s affection for early cinema and film preservation: the recreation of Méliès’s studio and the opening sequence are singled out, and several reviews describe it as Scorsese’s most personal film. Ben Kingsley draws the most consistent acting notices. The reservations cluster around the lesson. Several critics, admirers included, feel Scorsese turns his passion for cinema history into a lecture, that the plot is thin, and that the film runs long and sits heavily on children. Den of Geek finds Sacha Baron Cohen’s slapstick a distraction. The spread is wide: The Independent calls it a handsome dud that compares badly with the silents it celebrates, and the Evening Standard says it never gels and bores by the end. ### Reviews we read (20) - **The New Yorker**, David Denby (90/100, inferred): Scorsese directs a 3-D film that celebrates early cinema in a beautifully told and emotionally satisfying story. It sums up the cinematic past while pushing forward with new technologies. [Read](https://www.newyorker.com/magazine/2011/11/28/fantastic-voyages) - **Variety**, Peter Debruge (90/100, inferred): Scorsese has fashioned a timeless film that rewards patience and curiosity while defying typical kidpics. It celebrates cinema history through the story of an orphan and a forgotten filmmaker. [Read](https://variety.com/2011/film/reviews/hugo-1117946615/) - **Empire**, Kim Newman (80/100, inferred): Scorsese's film is a French-accented valentine to the wonders of movies and an attempt to redeem modes of filmmaking once cast aside. It offers excitement and enchantment in equal measure and is likely to become a lasting favourite. [Read](https://www.empireonline.com/movies/reviews/hugo-review/) - **Screen Daily** (80/100, inferred): Scorsese has turned the young adult novel into a warm and delightfully engaging family film that makes refreshing use of 3D and spins his love of early cinema into a moving fable about art and self-discovery. [Read](https://www.screendaily.com/hugo/5034798.article) - **Time Out**, Cath Clarke (4/5): Scorsese's most personal film is a love letter to cinema and the magic of celluloid, even as it appears to be a 3D kids' adventure set in 1930s Paris. The dazzling visuals and faith in movies are intoxicating, though the story feels patchy in places. [Read](https://www.timeout.com/movies/hugo-1) - **Total Film** (80/100, inferred): The film is an enchanting, funny, heartfelt love-letter to French film pioneer Georges Méliès and to cinema itself. Scorsese revels in using 3D technology to reach back into cinema's past. [Read](https://www.gamesradar.com/hugo-review/) - **Slant Magazine**, Phil Coldiron (70/100, inferred): The critic highlights the film's personal cinematic gambit and curious view of the boy amid artifice as making it Scorsese's best since The Age of Innocence, while noting how its digital visuals illuminate both successes and failures. [Read](https://www.slantmagazine.com/film/hugo/) - **The Guardian**, Philip French (70/100, inferred): Martin Scorsese’s family friendly fantasy is a cinephile’s delight and a spectacular, gorgeously created homage to the power of the first film-makers. It becomes an earnest fable about film restoration and history that can feel like something a really nice teacher might show before the Christmas holidays. [Read](https://www.theguardian.com/film/2011/dec/01/hugo-scorsese-film-review) - **The Hollywood Reporter**, Todd McCarthy (70/100, inferred): The critic calls it a passionate brief for film preservation wrapped in a fanciful tale of childhood intrigue, praising its technical achievements and Scorsese's deep personal investment while noting minor faults like overlength. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/hugo-film-review-263209/) - **Radio Times**, Dave Aldridge (3/5): Scorsese's first family film and use of 3D adapts the children's book into an oddly endearing tribute to early cinema pioneer Georges Méliès, though it can feel indulgent and heavy for kids. [Read](https://www.radiotimes.com/movie-guide/b-ll7qz9/hugo/) - **Vulture** (50/100, inferred): The critic enjoys the technical wizardry and effective 3D but finds the film more about magic than truly magical, praising select scenes and performances while preferring Scorsese's more emotional street films. [Read](https://www.vulture.com/2011/11/movie-review-martin-scorsese-hugo.html) - **Evening Standard** (30/100, inferred): The film fails to gel and is a bore by the end despite its promising subject and intelligent 3D use. The juvenile leads do not engage and the script is over-explicit, turning the experience into a lecture. [Read](https://www.standard.co.uk/culture/film/hugo-review-7427860.html) - **The Independent**, Jonathan Romney (30/100, inferred): Hugo is a sumptuous dud whose thin plot is a weak support for its film history lesson. Scorsese shows little sense of what amuses children and the film compares badly to the silent cinema it celebrates. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/hugo-3d-martin-scorsese-127-mins-u-6271802.html) - **The Playlist**, The Playlist Staff (A-): The review lauds the film's magical quality, Scorsese's love for cinema, excellent 3D, and personal touch, calling it a touching ode that parents should show kids. They highlight the opening sequence and use of 3D. [Read](https://theplaylist.net/review-hugo-a-touching-ode-to-cinematic-history-the-wonders-of-the-imagination-20111122/) - **/Film**, Russ Fischer (8.8/10): The critic praises Scorsese's exuberant direction and the film's celebration of early cinema and preservation of movies. They single out the recreation of Méliès' studio and use of 3D for praise. [Read](https://www.slashfilm.com/518656/hugo-review-martin-scrosese-teach-kids-loving-movies/) - **The Wrap** (85/100, inferred): The critic praises Scorsese for using 3D effectively and imaginatively to add depth to the story of an orphaned boy in 1930s Paris. The film is highlighted as a love letter to movies and film preservation, succeeding as both family entertainment and a treat for cinephiles. [Read](https://www.thewrap.com/review-scorsese-gets-3d-right-it-adds-real-depth-hugo-32986/) - **Den of Geek**, Ryan Lambie (4/5): Scorsese's unexpected family-friendly 3D adventure is a treat for cinephiles, with strong performances especially from Ben Kingsley and impressive use of 3D to enhance wonder. Some slapstick elements from Sacha Baron Cohen disrupt the more interesting plot threads. [Read](https://www.denofgeek.com/movies/hugo-review/) - **Digital Spy**, Ben Rawson-Jones (80/100, inferred): Martin Scorsese's family blockbuster explores the magical nature of cinema through a poignant narrative and masterful direction with a superb cast. It remains pure and affecting despite technical wizardry, serving as a powerful reminder of Scorsese's versatility. [Read](https://www.digitalspy.com/movies/a352786/hugo-review/) - **Collider**, Matt Goldberg (B-): The critic finds that while the film has a great premise, solid performances, spectacular visuals and 3D, and a thoughtful subtext, Scorsese turns his love of cinema from subtext to text, making the story feel like a lecture rather than a living adventure that fails to come alive. [Read](https://collider.com/hugo-review/) - **HeyUGuys**, Jon Lyus (2.5/5): While noting charming elements, fine cast, and impressive 3D, the critic finds the heart mechanical rather than magical, lacking emotional discovery and subtlety in its metaphors. They praise Chloe Moretz and Ben Kingsley. [Read](https://www.heyuguys.com/hugo-review/) ## Details - **Director:** Martin Scorsese - **Director:** Martin Scorsese - **Screenplay:** John Logan - **Cinematography:** Robert Richardson - **Editor:** Thelma Schoonmaker - **Music:** Howard Shore - **Production design:** Dante Ferretti - **Costume design:** Sandy Powell - **Producer:** Martin Scorsese, Johnny Depp, Tim Headington - **Cast:** Asa Butterfield as Hugo Cabret; Ben Kingsley as Georges Méliès; Chloë Grace Moretz as Isabelle; Sacha Baron Cohen as Station Inspector; Ray Winstone as Uncle Claude; Emily Mortimer as Lisette; Christopher Lee as Monsieur Labisse; Helen McCrory as Mama Jeanne - **Runtime:** 2h 06m - **Certificate (MPA):** PG - **Release (the US):** 23 November 2011 - **Genres:** Adventure, Drama, Family - **Budget:** $170 million - **Box office:** $186 million - **Trailer:** https://www.youtube.com/watch?v=gUthyrYwXUc ## Where to watch in the US - Amazon Prime Video: add-on, uhd - The Roku Channel: add-on, hd, leaving 2026-10-01 - Amazon Prime Video: rent $4.99, hd - Amazon Prime Video: buy $14.99, hd *Checked 2026-09-17.* Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, GR, HK, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2012: Best Costume Design (nominated); Best Director (nominated); Best Film Editing (nominated); Best Original Score (nominated); Best Picture (nominated); Best Writing, Adapted Screenplay (nominated); Best Cinematography (won); Best Production Design (won); Best Sound (won); Best Sound Editing (won); Best Visual Effects (won) - BAFTA Film Awards 2012: BAFTA's Children & Young People Award - Feature Film (nominated) - Saturn Awards 2012: Best Production Design (won) ## If you liked this - *Cinema Paradiso* (1988), Fi1m 84: A boy, a projectionist and a small-town cinema; the same love, told with fewer speeches. — [Fi1m page](https://film.one/film/cinema-paradiso.md) - *The Red Balloon* (1956): Paris, a child and almost no dialogue; thirty-four minutes that trust the pictures. - *The Fabulous Baron Munchausen* (1961): Karel Zeman’s hand-painted fantasy is the Méliès spirit carried on in Czechoslovakia. - *The Artist* (2011), Fi1m 82: The same year’s other tribute to silent film, and it dares to stay silent. — [Fi1m page](https://film.one/film/the-artist.md) - *Amélie* (2001), Fi1m 82: A storybook Paris of brass, green and gold, with a heroine who fixes strangers. — [Fi1m page](https://film.one/film/amelie.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/hugo