Hugo is a family film with a mystery wrapped in a loving homage. And I loved every moment of it.
Let’s get one thing straight: Having me review a movie written by James Ellroy is patently ridiculous. Whether or not what I have to say is favorable, the fact that I’ve been placed in position to pass judgment on anything the man does is silly. Ellroy is a legendary crime writer, while my only experience with crime writing is that every time I’m paid for writing, it’s probably a crime. That said, as a duly deputized “CFN” movie reviewer, I would be remiss if I ducked out of an assignment … not to mention the inevitable palm striking if I were to drop the ball here. Onward!
Jason Segel and his Hollywood friends had quite a difficult task in front of them. How do you take a franchise that’s both beloved and woefully outdated and make it compelling for audiences both old and new? And make it not suck?
I love foreign films. When I see them I always think “Why can’t Americans make quirky movies with unusual locations, believable yet unique characters, with comedy and pathos starring big time Hollywood actors?” And then someone does, and I still don’t like it. Is it me?
Clint Eastwood directed J. Edgar, and sometimes his movies are great, and sometimes they are too subdued, slow-paced, for most audiences. This one, however, is the former.
Movies directed by Tarsem Singh all have one thing in common: they are imperfect.