Scorcese is a master at whatever he does, and he knows it, but whatever he does seems to be more in service of his subject matter than his own hubris. You can’t help but see the artiface in his art. I don’t think this necessarily weakens his work, but his cinematic flourishes often call attention to themselves even as they earn the respect they deserve.
In his latest film, Hugo, grand, sweeping camerawork calls attention to itself as much as it calls attention to the granduer of its subject matter. A movie that exalts cinema and cinema-makers and even (gulp) the scholarship of cinema takes on an exalted style.