by Jacob Hirsohn, staff writer

I was terrified when I saw the first trailer for Martin Scorsese’s new  movie, “Hugo.”

It was incredibly ludicrous. Sacha Baron Cohen, aka Borat, ran into a cake, and the whole thing looked incredibly stupid.

Not to mention that it was in the disastrous format of 3D.  Then the film premiered at the New York Film Festival and word spread quickly: “Hugo” was apparently one of the best 3D live-action films of all time.

While the film didn’t resonate with me that significantly, it is without a doubt an enchanting story for movie lovers of all ages.

“Hugo” is Scorsese’s adaptation of the bestselling book “The Invention of Hugo Cabret.” It is the story of Hugo Cabret (Asa Butterfield), a child living in the walls of a train station in 1930s Paris.

He is now responsible for operating the clock in the station since his uncle passed away.

Hugo was left an automaton, a robot type wind-up toy, by his deceased father (Jude Law).  He finds the key to operate the automaton around the neck of his new friend Isabelle (Chloe Grace-Moretz), who is the goddaughter of George Melies (Ben Kingsley). Melies is a once famous filmmaker, who now sells toys in the train station.

Hugo and Isabelle must unravel the secrets of Melies and the automaton, all while evading the Station Inspector (Cohen).

The movie is not what viewers expect when thinking of visionary director Scorsese (“Taxi Driver,” “Raging Bull,” “The Departed,” “Good Fellas”).

It is enchanting, uplifting, and very cute.  But lovers of Scorsese will recognize the dynamic style he brings to every one of his films.

It works as well in “Hugo” as it ever has, but the movie is far from perfect.

The writing is clearly dumbed down for younger audiences, which is understandable, but it has a clear effect on the story.

While Scorsese seems more inclined to focus on the more interesting storyline about Melies and the birth of filmmaking, an unnecessary amount of focus is put on story lines involving the worst character of the movie, Cohen’s station inspector.

Cohen’s performance is borderline horrifying. He is completely over-the-top, and has no place in the movie.

He robs screen time from his very deserving co-stars, Butterfield, Grace-Moretz, and Kingsley.

The depiction of Hugo is one of Butterfield’s first efforts, and he clearly has work to do, but he proves here that he deserves many more chances.

He can clearly develop into a promising young actor.

As for Grace-Moretz, she has already landed on the radar for her acclaimed performances in “Kick-Ass” and “Let Me In.” She gives the most compelling performance in “Hugo,” and proves once again that she is one of the most promising young actresses in Hollywood right now.

Kingsley has had a long history of great performances, and this is certainly not a misstep. He is wonderful.

The best sequence of the movie is a charming flashback from Melies, recalling his career as a filmmaker. It starts as a lovely portrayal of early film making, and becomes a heart breaking portrait of a washed-up genius.

It would have been nice to hear more about this character, but I’ll take what I can get.

As for the 3D, there is a lot of hype surrounding it, suggesting that it basically saves the dying format.

I disagree. I think it is some of the better 3D ever seen, but it still adds almost nothing to the film.

At best, it enhances the occasional shot, and is certainly not worth how much it costs, for the  viewer or the filmmaker.

But with a director like Scorsese supporting it, I’m sure 3D will be around to bother me for a long time.

GRADE: B+