I actually did end up loving Hugo, largely because it took place in a world I would like to inhabit and revolved around things that are dear to my heart, like old-timey robots and those kooky, inventive movies from the dawn of cinema. I've been to Paris exactly once -- as part of a family vacation when I was maybe 10 years old -- and for whatever reason, one of my most vivid memories of that trip is of a coin-operated machine which, when activated by feeding it however many coins it wanted, displayed a scene of mechanical creatures cavorting in a gear-operated landscape for about a minute. Hugo brought me right back to that feeling. To me, it tied in with Scorsese's other movies well because so much of it is predicated upon the idea of seeing, of looking, of being a witness to something extraordinary. Hugo's main job in the movie is to see. No wonder that the movie's entire color scheme is based around the color of Hugo's eyes. We spend a lot of time looking at Hugo's eyes, and that exact shade of blue is used as an accent color
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As usual, I can't argue with you, Joe. You make excellent, well-reasoned points. Almost makes me wonder why you aren't writing about film for a living. You definitely have an aptitude for it.
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