La critique de James Berardinelli (fin)
                                                             
Scorsese becomes one of the first filmmakers to use 3-D effectively, primarily because he employs it as a tool to add to the visual experience rather than as a gimmick to define it. First and foremost, he makes sure that the light level is adequate and that, even in the darkest scenes, viewers aren't squinting to see things as if looking through a pair of grimy sunglasses. Secondly, he is apt to use 3-D to provide depth and body, although he's not averse to the occasional moment of spectacle. The opening scene, a glorious "helicopter" shot of Paris as the camera swoops toward it from above, may be the best example of 3-D thus far provided by any film. 3-D aside, the digital/computer-aided nature of the production allows Scorsese unparalleled freedom with the placement of his lens.

Especially early in the film, the camera moves and tracks as if unfettered by the laws of physics. Hugo is a smart movie, but it also has heart. Those with a passion for early cinema are likely to adore it, although a knowledge of and appreciation for Melies is not requisite to enjoy Scorsese's loving homage. The film deserves to be seen in 3-D as it was conceived, but the story is strong enough for it to survive intact in a 2-D conversion. As un-Scorsese-like as Hugo may be in many ways, it is nevertheless a worthwhile and important addition to the oeuvre of one of the best living filmmakers