World War II soldier-turned-U.S. Marshal Teddy Daniels investigates the disappearance of a patient from a hospital for the criminally insane, but his efforts are compromised by his troubling visions and also by a mysterious doctor.
This was a random thing. We didn't even know the schedule and I was just wearing a random shirt and shorts. I just wanted to drink mango shake but then we randomly decided to go to eastwood and check the schedule. We were supposed to watch Diary of a Wimpy Kid but since Shutter Island's showing, then Shutter Island it is. But then wearing my "pambahay" outfit didn't really help since I saw 2 people from AC. grrrrrr. When I dress up, I don't see anyone I know but when I'm not properly dressed and I look like a mess, suddenly all these people come up to me and say hi. Note to self: always dress up.I liked it. Watching Leonardo is not bad at all. I liked the twist of the story. Although you'll have some hints here and there, you'll think "oh I'll wait and see what it really is". And then the twist happens and you'll be like "I knew that all along". But that doesn't stop me from liking this movie. I'm so jealous of the girl playing his daughter. I mean first kiss...Leonardo Di Caprio???? Wow. I would take her place anytime. Michelle Williams...I'm not really a big fan of her. And after seeing this and being jealous also of her because of how she sat on the lap of Leo, I can say I don't like her at all. lol. Leonardo is awesome as always. It's amazing how good of an actor he is and he still hasn't won any Oscars. His time will come. I know he will win. And that flashback scene, he looked really good. Yum Yum Yum!I rate this movie as A. Love the story. Love the actor.
The movie is perfect psycho drama---Shutter Island is the story of Teddy Daniels, A U.S. federal marshal sent to the island with his partner Chuck Aule to search for the disappearance of a patient. Each scene provides a turn against their leads and compels them to look for more whilst searching in places we couldn't comprehend, including their minds. Leonardo DiCaprio and Mark Ruffalo feed off each other and supply great performances for their characters as expected, but some of the other characters whose names are riveted on the posters or marquees are sensational as well. The two that stuck out to me most were Ben Kingsley (Dr. Cawley) and Michelle Williams (Dolores, Teddy's wife), each of whom brought so much dramatics and new questions to the movie, developing plot twists and controversy. I don't think this film would be the same without them.This is also a film I would recommend seeing a second time. In fact, it is even better the second time. All those pieces of that puzzle you didn't catch the first time, you will the second. You see, we as the audience are first put in the shoes of Teddy. The second? Well, without giving too much away, lets just say you are put in someones else's shoes entirely during the second viewing. Shutter Island. A film that will make you question your own sanity. A film that will leave you breathless. A film that has re-ignited the thriller genre. A film that will leave you, and the main character, searching for answers.
Shutter Island is at the top of its genre---Martin Scorsese has done it again. He pays attention to every detail in this film, making "Shutter Island" one of the best suspense thrillers of all time.Visually intriguing, simplistic and absolutely phenomenal. The story is kept simplistic enough so it doesn't get absurd, but allows for an ending which you probably won't see coming. The film doesn't go for cheap thrills, so although you will be on the edge of your seat you won't get needlessly scared.The film uses everything at its disposal from breathtaking scenery, to detailed laid-out shots, and to actors at their finest to completely engross you in the film. I loved every minute of it and highly recommend it to everyone. Even if you're not a usual fan of the genre, this film has so much more to it.
I can't look away...---Finally, a horror/thriller that actually, genuinely scares the crap out of you. Not because it has fancy villains in masks or sadistic buckets of gore throughout. No, it scares you because it messes with your mind. Most will hate this movie, they don't like their brains being tampered with. I loved it. It's what we needed after all those gory R-rated and sometimes lame-duck PG-13 horror crap-fests.The horror/thriller genre has been raped lately, with gore and scantily clad- women replacing the noir and terror that Alfred Hitchcock perfected in the '50s and '60's. Here director Martin Scorsese delivers in full blast, crafting a thriller in his own unique vision. The atmosphere throughout the movie is tense and unsettling. Slow as it may be, but it is crucial to the movie and it's genuinely gripping. Your attention WILL not be lost. The scenery is beautiful and finely done with no excessive lighting, grain or darkness. The editing by Thelma Schoonmaker is fluid and pitch-perfect, and never makes the film lose focus. The movie is based on a book by Dennis Lehane and is packed with twists and turns that will leave you breathless and uneasy. The movie cranks the breathlessness and uneasiness up to the power of 5. The music is also perfectly suited with the scenes. There is sometimes no music during suspenseful moments, and sometimes the music makes the scene even more disturbing and memorable. Alfred Hitchcock's noirish thriller style is back with a vengeance, here to teach today's moviegoers the REAL meaning of suspense and horror.All the actors in the movie are in top-form. Once again, you can't go wrong with a Leonardo DiCaprio/Martin Scorsese collaboration. As the protagonist, we the audience are thrust into his shoes and we are about as confused and scared as his character is, we feel what he feels. It becomes a psychological trip that poses many, many questions about oneself, that to discuss them here would spoil the entire movie. There are some flashbacks in the movie, but all of them are important clues to DiCaprio's character. DiCaprio gives a stunning performance, once again tempting the Academy to give him another Best Actor nomination. DiCaprio gives a vivid portrayal of a vulnerable, haunted and ultimately terrified man. Apart from DiCaprio there's really not much I can say about the supporting cast, because they are all also terrific. Ben Kingsley; Mark Ruffalo; Michelle Williams; Max Von Sydow; Jackie Earle Haley; Emily Mortimer; Patricia Clarkson; Ted Levine; Elias Koteas; John Carroll Lynch. All of them.In short, this is a psychological and frightening masterpiece that will make you scared, will make you think, and will make you seek psychological help. This is one of the best films of the year. See it, go in with an open mind and prepare to be blown away.Overall value: 9/10.
Which Would Be Worse, To Live As A Monster Or To Die As A Good Man?---If Paramount Pictures had released Martin Scorsese's Shutter Island last year – the original release date was October 2nd, 2009 – I would have considered the film the best movie of the year. As it stands, the rest of 2010 has a long way to go in terms of matching the quality and effectiveness of Scorsese's new picture. It's a fascinating character drama, an exciting and almost experimental exploration of the human mind, a reinvention of the horror genre and a dynamic acting showcase for its star, the incredible and still very underrated Leonardo DiCaprio.Shutter Island is also an incredibly appropriate entry in the Scorsese canon – it's a film about an alienated man haunted by his past. Add Teddy Daniels to the list of Scorsese's tragic and multilayered antiheroes – Jake La Motta, Travis Bickle, Henry Hill, Howard Hughes, Billy Costigan, Rupert Pupkin, Jesus Christ. The film also continues Scorsese's fascination with our understanding of violence (it should be noted that our perception of the lead character's violent actions changes dramatically when watching the film for a second time).Shutter Island is eerie from the very beginning. U.S. Marshal Teddy Daniels (DiCaprio) and his newly assigned partner Chuck Aule (Mark Ruffalo) steadily approach an island off the coast of Massachusetts known as Shutter Island, a mental hospital for the criminally insane. The year is 1954, and Scorsese and music supervisor Robbie Robertson subtly incorporate vintage (and sometimes downright disturbing) 1950s music into the sound mix. Once on the island, Daniels and his partner meet with Dr. Cawley (Ben Kingsley), who explains to the Marshals that one of the island's patients has mysteriously disappeared overnight. The investigation that ensues is a fascinating exploration of insanity.Hovering over every scene is a paranoid, post-war anxiety shared explicitly by our protagonist and thoroughly felt and realized by Scorsese. Tensions rise as Teddy recalls horrific memories from liberating a concentration camp during the war, and his suspicions of Nazism and conspiracy by the House of Un-American Activities on the island become our suspicions. The best Scorsese films force the audience to live inside the minds of moderately-to-severely delusional characters weighed down by an enormous and overwhelming guilt. Shutter Island does just that. There is an unease throughout the entire film, deliberate disturbances in continuity that some audiences might mistake for sloppy editing. That's simply Oscar-winning editor Thelma Schoonmaker toying with the audience, making us question the reality we're watching and the reliability of our protagonist. The film is a brilliant melding of film noir, detective mystery and psychological horror, at its very core an exploration of an emotionally disturbed human psyche, disguised as a Hitchcockian thriller that works as both a homage to Scorsese's favorite psychological thrillers from the 1940s and 1950s while simultaneously elevating itself into something larger and more complicated. When you watch Shutter Island, you're not just watching Scorsese's film – you're watching thousands of classic movies at once, assembled together in a picture conceived by a filmmaker whose encyclopedic knowledge of film history pours into every detail of every frame, so much so that an already-genuinely suspenseful scene of DiCaprio racing up a flight of winding stairs simultaneously serves as a homage to Michael Powell and Emeric Pressburger's The Red Shoes (1948).Unfortunately, Shutter Island has come under attack from, as my good friend calls them, the pseudo-intellectual crowd. From what I can gather, the general complaint is that the movie takes itself too seriously dramatically, and that some of the dramatic shifts in the film are laughable. Perhaps this is because Scorsese refuses to compromise his vision by winking at the audience. When discussing The Best Films of the 1990s with Martin Scorsese in early 2000, film critic Roger Ebert notes that at some point in the 1990s, existentialism, "the idea of what we do with our lives," was "replaced by irony, so that everything has quotation marks around it." He then adds, however, that Scorsese's "films are not in quotation marks...they are meant."And he's absolutely right. Scorsese can't make an ironic film - a film too afraid to deal head- on with real, palpable human emotion, therefore putting the actions of its characters in huge quotation marks. My favorite films of the past few years don't have ironic quotation marks around their characters, either. I don't buy movies that do that – it's a cheap way of pleasing the cynical, highbrow crowd who only accept genuine human emotion in films if it comes from Pixar Animation or a foreign-language film. I love those movies, too, but I haven't given up on serious American films that aim for high character drama and succeed. I'm talking about Clint Eastwood's Mystic River (2003), Scorsese's The Aviator (2004), Ang Lee's Brokeback Mountain (2005) and now, Shutter Island. These are films that take their characters and their plights seriously.Every negative review I've read doesn't seem to consider how effective the film is on a visceral level, how strong and forceful the performances are from top to bottom and the powerful manner in which screenwriter Laeta Kalogridis keeps the story grounded in the deep emotional turmoil of its characters. Shutter Island is a real film, the kind they don't make anymore, exceeding the supposed limitations of its genre and offering its audience something challenging and psychologically fascinating. Scorsese doesn't have to make movies anymore - he's already made more masterpieces than any other living filmmaker - but we're lucky that he's still exploring his obsessions in new and inventive ways. Shutter Island should be met with applause, not simply because the film marks the latest work from our finest living filmmaker, but because it's also the best damn movie you'll see this year.
The Good and The Bad---After coming on this usually reliable site and seeing the high rating for Shutter Island, I decided to check the movie out. I was HIGHLY disappointed? so much so, that it frustrates me to even give it enough attention to write this review.THE GOOD: The cinematography made this film somewhat tolerable. The opening scene was great, but then it went downhill from there? THE BAD: Whoever wrote this film should be ashamed. There was no originality to this plot whatsoever, and the overacting almost made this film unbearable. The ending was so frustrating that I wondered if I actually missed something. I kept waiting for the movie to get better, but it never did. I just kept thinking that this couldn't have been one of those "it was all a dream" clichés, but sadly it was. The entire film was so redundant that all I could say at the end of the film was: "seriously?" Do NOT waste your money? it will leave you angry and frustrated.
Boring and pretentious---I usually have nothing against being influenced by a movie if it appeals to me and has a good story. Shutter Island did neither for me.The music in the opening scene is trying way too hard to create an eerie feeling that Shutter Island is a place of evil. And the music reminded me of Cape Fear. But Shutter Island is far far from the greatness of Cape Fear which is Scorses all time masterpiece in my opinion. This however is his worst movie.It is not DiCaprio's fault, but the horrible deeply flawed screenplay.* SPOILER AHEAD * I would have liked to have Leo's character not been insane and developed an alternative reality in order to protect himself from the memory of his drowned children and the wife that he shot.If the movie had been about him coming to find a missing patient and expose Ben Kingsley and the other doctors as vicious attackers of patients, then it had perhaps been a good movie.Teddy's memories of WWII is also just boring and have no great importance to the plot. Yes I know that the dead girl in wagons represent his daughter that he could not save. But it's damn uninteresting.The plot does not make much sense either. Leo is really a patient himself on Shutter Island, and to get him to accept his past, all physicians, psychiatrists, prison guards and patients are acting to support his idea of reality. How likely is it that doctors could get criminally insane to help in this way? It would not be feasible. They are all just as crazy as Teddy. If not more.How likely is it that a German doctor could get Teddy to wake up when Teddy, because of his past as a soldier, hates Germans and basically sees him as a Nazi? They offer Teddy alcohol. It would probably just be tea they had given him had he said yes but he would probably have noticed it. And then what would they have done? If the goal is to get Teddy to accept his past and that he is patient, why are the doctors then doing everything they can to act suspicious and untrustworthy? What if Teddy had bolted when he was aboard the ferry with his partner/psychiatrist? It could not have been prevented.How likely is it that the U.S. Marshalls are told to hand over their weapons when they are searching for a missing patient in a prison/institution for the criminally insane?Teddy's gun is a toy gun. How likely is it that Teddy does not until the very end discovers that it is made of plastic, not metal and wood? Especially when he is suppose to be extremely intelligent.On the whole, they let a seemingly very dangerous patient walk freely around the island for several days. They let him blow up a car and knock a guard out. They would never let it come so far in reality.What is the meaning of it all? Why put the whole circus together due to one mental patient? Why feed on his delusions, if the goal is to make him accept his past? Why is he more interesting than all the other patients? Why don't they just talk to him and give him medicine that prevents him to invent an alternative reality? Yes it is 1954 and yes the time they knew not what we know today and yes they would probably give him a lobotomy as it is indicated they will at the end of the movie. But still.There is so much that does not make sense in the movie and when it itself is so cliché-filled, I really can not take it seriously.
A Horrible Movie---This review contains major spoilers. Please do not read any further if you have not yet seen this film and you have any interest in seeing the film at any time in the future.This film makes no damned sense, unless the point of the film is supposed to be that the people running the insane asylum are more insane than the inmates.For this film to make any sense, you have to accept the premise that psychiatrists who actually care about a mentally ill patient would try to cure such patient by doing things that would drive a sane person crazy; that they would play cruel head games that encourage delusional beliefs. How can any sane person believe that giving Teddy/Andrew evidence to support his delusions is going to cure him of delusions? In fact, as the film progresses, we see Teddy/Andrew getting more deluded, more paranoid, more violent. The role-playing is clearly counter-productive. Giving Teddy/Andrew reasons to believe his delusions would not cure him. This is proved by the fact that there are numerous people on the IMDb boards who believe Teddy was sane all along, throughout the film. If the role-playing can't even convince these viewers of the truth, how is it supposed to convince Teddy/Andrew?And for this film to make any sense, you also have to believe that these same doctors would give a startling degree of freedom to one of the asylum's most violent killers. Andrew/Teddy attacks a patient and knocks out a guard. He blows up a car, for goodness sake! That alone should prove it was insane to give him any freedom to wander alone, even for a short time. The movie was set up as a mystery - what is the secret of Shutter Island? But the resolution (that Teddy/Andrew was insane all along, and the doctors were pretending to be evil because they thought that would cure him of his delusions) makes no sense. There is nothing worse than a mystery where the solution breaks all rules of logic. It reminds me of the following joke:Dennis Lehane: What is furry, has four legs, purrs, and reads the newspaper every day? Richard Nathan: I don't know. Dennis Lehane: A cat. I lied about the newspaper.I thought that joke was annoying the first time I heard it, and it's annoying as the basis of the mystery in "Shutter Island."Furthermore, the resolution is not the result of any actions taken by the protagonist. The role-playing game doesn't lead Teddy/Andrew to discover the truth himself. He is merely a passive listener as the solution is explained to him. The breaks several major rules of screen writing.And what about the very end? Most people interpret Teddy/Andrew's last line as meaning Andrew is only faking his regression, so that he can get a lobotomy and avoid facing the truth. But if he were faking it, why would he give this away to the doctor playing Chuck? And why are so many people moved by this act of cowardice? Can there be anything more cowardly than someone choosing to get a lobotomy to avoid facing the truth about himself? Are we supposed to empathize with someone who chooses to destroy his own intellect because he doesn't have the guts to face the truth? I cannot understand how anyone can think this is an intelligent screenplay.
Did I miss something?---Did I end up seeing a different movie than everyone else? I was shocked when I saw that Scorsese had directed this (I was unaware.) I think was by far his worst movie.The story line had great potential - once you "know" what really happened at the end. I thought the execution of the film was poor.The middle of the movie positively DRAGGED. I felt like I was watching Di Caprio and Winslet in Titanic, escaping from near death as the water rises - FIVE times in a row. I couldn't wait for the end.The end of the movie was needless to say muddled, which is probably intentional. We're meant to to REALLY know what happened. Was he crazy? Was he not? Was he poisoned and committed to protect the secrets of the island? Was he really an inmate undergoing a radical therapy? I can appreciate the film noir quality of the ending. It's just by that time I didn't care.There were lots of great clues along the way that don't make any sense at the time. But at the end when you look back they make sense (the blood from his wife's midsection when he's holding her ghost the first time.) And the idea behind a story like this is to make all of those clues fit the "real" story. Like explaining why they had to give up their guns at the gate. And why the guards were looking at them so strangely when they first arrived on the island.What doesn't make sense to me is the opening sequence on the boat. Why is that part of the story? If you're going to try out this radical new theory, and you have to "start" Teddy off in his fantasy somewhere (where he departs from the reality of being an inmate and starts the fantasy of being a Marshal investigating the escape), then why not just have him start off on the dock (as if he just arrived.) It has to start somewhere - you can't go back indefinitely. The opening sequence just doesn't fit the "real" story - only the "fantasy." I was VERY disappointed in the execution of the film as a whole.I wasn't alone either. Someone behind me muttered "Scorsese needs a lobotomy" as the credits rolled.I couldn't help but laugh and agree.