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VIDEO: HUGO and the First Movie Magicians

The 84th Annual Academy Awards will be announced this Sunday, with Martin Scorsese’s Hugo leading the pack with 11 Oscar nominations. Along with the 10 nominations for fellow front-runner The Artist, silent cinema will occupy center stage at the ceremony in a way it hasn’t since the dawn of the sound era. To commemorate the occasion, this video links Hugo to several films by the early pioneers of cinema.
  • By Kevin B. Lee
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  • February 23, 2012 8:50 AM
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'SHOULD WIN' VIDEO ESSAY SERIES: Best Director Martin Scorsese, HUGO

This year's Oscar race for Best Director features an especially strong roster. The five nominees are Woody Allen for "Midnight in Paris," Michel Hazanavicius for "The Artist," Terrence Malick for "The Tree of Life," Alexander Payne for "The Descendants" and Martin Scorsese for "Hugo." Four of them did magnificent work this year, one of them less so, but in the end there will only be one winner.
  • By Ali Arikan & Kevin B. Lee
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  • February 10, 2012 7:46 AM
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Hugo Cabret (Asa Butterfield) lives in a fairy tale, in both senses of that word. He's not troubled with real-life adolescent bagatelles like homework, and he lives unsupervised in the clock tower of a Parisian train station, where he's in charge of keeping the clocks running. But Hugo is unsupervised because his parents have both died. (…I believe? I'm not entirely clear on what has become of his mother; his father, played by Jude Law, is consumed by a fiery backdraft in flashback, and this is not explained either.) Hugo's druncle Claude (Ray Winstone) takes custody of the boy, sticks around long enough for Hugo to learn the station-clock trade, then goes on walkabout, and Hugo is left to fend for himself. Fortunately, he's gifted at fixing things, so he keeps the clocks running in the hopes that nobody will notice Claude has gone missing, and dodges the station inspector (Sacha Baron Cohen), an orphan-phobe with a mechanical leg and an equally hostile Doberman. Hugo nicks pastries from bakeries, and spare parts from Georges, the sour proprietor of a toy stall (Ben Kingsley), because on top of keeping the time and staying out of the boys' home, Hugo has a third job: trying to fix an old automaton repatriated by his father from a museum, in the hope that the machine will send him one last message from beyond the grave. And it does, in more ways than one.
  • By Sarah D. Bunting
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  • February 6, 2012 6:18 AM
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GREY MATTERS: Martin Scorsese's interesting year

Aside from being a lousy whitewash out to prove God-knows-what, Martin Scorsese’s George Harrison: Living in the Material World doesn’t even live up to some simple realities, things like the fact that when you’re Martin Scorsese, you most certainly do have a huge responsibility when taking on such an undertaking. Nobody will ever again have your resources, access or your name, and the sobriety of purpose and sheer cred that goes with it. And now, to super-complicate matters really interestingly, we have Hugo, easily one of Scorsese’s top five films, a masterpiece, coming mere months on the heels of the Harrison debacle. The two films, in eternal orbit and connected by “George” as a name and notion – of the guitar player and his revolution in sound, and of the disgraced special effects trailblazer, Georges Méliès, who, in our world, delighted a small, asthmatic Italian-American boy in Little Italy almost 60 years ago with his lowest-fi wonders.
  • By Ian Grey
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  • December 19, 2011 1:33 PM
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