Martin Scorsese's Shutter Island

[Ezee E]

I never really understood what made Leo the most dangerous person on the island.

He seemed pretty tame compared to some of the guys we saw in Ward C.
On the contrary, everyone on that island was deemed dangerous.

[Dead & Messed Up]

I never really understood what made Leo the most dangerous person on the island.

He seemed pretty tame compared to some of the guys we saw in Ward C.

I think it was more his potential to be dangerous, since his background was that he was a very intelligent, well-taught police officer who had military training. So if he wasn't under control of his emotions, he could do considerably more damage than, say, an embittered housewife who may have murdered more in the real world.

[megladon8]

On the contrary, everyone on that island was deemed dangerous.


Yes, but they say that patient 67 is the most dangerous one there.

I really didn't think anything we saw of Leo or his past showed him as more dangerous than, say, that bald guy he restrained in the dark stairwell.



I think it was more his potential to be dangerous, since his background was that he was a very intelligent, well-taught police officer who had military training. So if he wasn't under control of his emotions, he could do considerably more damage than, say, an embittered housewife who may have murdered more in the real world.


Yeah I imagine what they meant was his potential.

But still, like I just said, I'd be much more weary of a guy like the baldy, or even Jackie Earl Haley's character, than Leo's.

[Morris Schæffer]

Also, the little things in the editing to make you feel uneasy, some more obvious than others (like having props in characters hands sudenly absent between cuts in hallucinations, having takes played backwards, skipping ahead in standard scenes that suddenly make things feel oddly fragmented, etc.) ... I could go on. It elegantly tickled almost every sense a film can.

I just saw the movie. Reaction is rather positive, but whoa! Reading this, there was this bit where Chuck and Teddy are talking to this woman and she ask Chuck to get her a glass of water and when he does, she slips Teddy a note about running away while he still can. And then in the next cut, she takes a sip from the glass and I remember thinking that she wasn't holding the glass. Her hands were empty! And she was merely mimicking the act of drinking from a glass. Really freaky.

[Kurosawa Fan]

Seeing this Wednesday. My expectations are tempered by my general ambivalence for most things Scorsese.

[Watashi]

Seeing this Wednesday. My expectations are tempered by my general ambivalence for most things Scorsese.
You should probably go to the doctor to get that checked out.

[Derek]

Seeing this Wednesday. My expectations are tempered by my general ambivalence for most things Scorsese.

You will give this film **.

And on a completely unrelated note, are those the guys from Peep Show in your avatar??

[Kurosawa Fan]

You will give this film **.

And on a completely unrelated note, are those the guys from Peep Show in your avatar??

Nope, they're from That Mitchell and Webb Look. Sketch comedy show that you should be watching as we speak. It's on Netflix Instant Viewing. Make it happen Derek. Your life is incomplete without Sir Digby Chicken Caesar.

[Winston*]

Nope, they're from That Mitchell and Webb Look.

Same dudes.

[Derek]

Nope, they're from That Mitchell and Webb Look. Sketch comedy show that you should be watching as we speak. It's on Netflix Instant Viewing. Make it happen Derek. Your life is incomplete without Sir Digby Chicken Caesar.

I will check it. Peep Show is pretty damn funny.


Same dudes.

Thought so.

[Kurosawa Fan]

Same dudes.

Well, shit. How was I not aware? I'll grab Peep Show immediately.

[Derek]

Well, shit. How was I not aware? I'll grab Peep Show immediately.

Takes a little while to get used to the constant first-person camera, but when a show goes for cancer jokes in the first episode, it's easier to cut it some slack.

[megladon8]

Seeing this Wednesday. My expectations are tempered by my general ambivalence for most things Scorsese.


You're going to hate it.

[eternity]

Unrelated, but: A 4 for Wet Hot American Summer, Megladon? DO YOU HAVE A SOUL!?!?!?!?

[megladon8]

Unrelated, but: A 4 for Wet Hot American Summer, Megladon? DO YOU HAVE A SOUL!?!?!?!?


For someone who thinks Christopher Nolan's films are all the same, I'd keep your mouth shut :P

[Pop Trash]

Unrelated, but: A 4 for Wet Hot American Summer, Megladon? DO YOU HAVE A SOUL!?!?!?!?

Yeah, WHAS is good times.

[Fezzik]

I just saw the movie. Reaction is rather positive, but whoa! Reading this, there was this bit where Chuck and Teddy are talking to this woman and she ask Chuck to get her a glass of water and when he does, she slips Teddy a note about running away while he still can. And then in the next cut, she takes a sip from the glass and I remember thinking that she wasn't holding the glass. Her hands were empty! And she was merely mimicking the act of drinking from a glass. Really freaky.

I had the exact same reaction, down to the "whoa!" :)

[Morris Schæffer]

I had the exact same reaction, down to the "whoa!" :)

Ah so that was true! Awesome indeed. :) What a weird shot. At first I merely thought that it was one of those trick shots where the object blends into the background (aka the woman's clothing).

[baby doll]

It's pure schlockShouldn't we expect more from the guy who made Taxi Driver?

[Adam]

Shouldn't we expect more from the guy who made Taxi Driver?

Well that was over three decades ago and I don't think Scorsese's made a really great movie since After Hours, but like with his Cape Fear remake, it's still fun for me to watch such a talented guy screwing around in genre films that are ostensibly beneath him. I definitely went into Shutter Island hoping it wouldn't take itself too seriously and, uh, mission accomplished

[megladon8]

Shouldn't we expect more from the guy who made Taxi Driver?


So he's not allowed to have some zany, stylistic fun once in a while?

[megladon8]

Well that was over three decades ago and I don't think Scorsese's made a really great movie since After Hours, but like with his Cape Fear remake, it's still fun for me to watch such a talented guy screwing around in genre films that are ostensibly beneath him.I definitely went into Shutter Island hoping it wouldn't take itself too seriously and, uh, mission accomplished


Um...I hope you're using "ostensibly" very strongly there, because otherwise I'd have to say I have great issue with this sentence.

[Adam]

Well what I mean is that they're not really beneath him, even if it seems that way at first blush. Doing films like Shutter Island or Cape Fear or whatever can wind up being totally worthwhile for Scorsese because of all the neat, unique stylistic opportunities he gets, which wouldn't work in more serious fare. But I do understand the frustration babydoll wrote about in his last blog post. Scorsese's clearly still very talented, so it is kind of a shame he's not making the kind of stuff he's capable of when he's firing on all cylinders. But then, I completely agree with you - it's not like he owes us anything. Scorsese can make whatever movies he wants to make

[megladon8]

I find the level of condescension some people display towards genre films quite bothersome.

[Derek]

I find the level of condescension some people display towards genre films quite bothersome.

I find the slavish devotion some people display towards genre films quite bothersome. On the other hand, I certainly agree that they are too often dismissed as shallow and unworthy of attention.

[megladon8]

I find the slavish devotion some people display towards genre films quite bothersome. On the other hand, I certainly agree that they are too often dismissed as shallow and unworthy of attention.


I'm not slavishly devoted to genre films - I just think they deserve as much respect and attention as other works.

[Pop Trash]

I find the slavish devotion some people display towards genre films quite bothersome. On the other hand, I certainly agree that they are too often dismissed as shallow and unworthy of attention.

Speaking of which...is anyone just tired of the zombie thing lately? It seems like everytime I open my local alt-newspaper there's some mention of a local moviemaker's new schlocky zero budget zombie movie. Also, everytime I've attended a party lately, some douchey guy is raving about just how awesome Zombieland is. Inveitably some other guy will say he hasn't seen it, then said douchey guy will say something like "OMG You haven't seen Zombieland yet? It's sooo good!" Yawn.

[megladon8]

Yes, I am getting tired of zombies. I want them to go away for a good 10 years.


To expand on my last post - I think a great story with rich characters, technically proficient filmmaking and a keen eye for style and striking imagery can be told in any genre.

There is not a single genre or style of filmmaking I have encountered that never produced an exemplary film. That includes romantic comedies.

[Dead & Messed Up]

Speaking of which...is anyone just tired of the zombie thing lately? It seems like everytime I open my local alt-newspaper there's some mention of a local moviemaker's new schlocky zero budget zombie movie. Also, everytime I've attended a party lately, some douchey guy is raving about just how awesome Zombieland is. Inveitably some other guy will say he hasn't seen it, then said douchey guy will say something like "OMG You haven't seen Zombieland yet? It's sooo good!" Yawn.

Almost total agreement, but I will say this. My roommate came home from a gun range a few days ago, and he brought home his target sheets, and one of them was a friggin' zombie. He says they have three different zombie sheets. So I need to go to that gun range and shoot me up some zombies.

[balmakboor]

Yes, I am getting tired of zombies. I want them to go away for a good 10 years.

What would you like to see as a new direction for zombie movies? Can you imagine ways that they could/should be re-imagined? I'm curious because I'm working on a zombie story right now that is quite a bit different from anything I've seen before. But, without specifying how mine is different, I'd like to hear thoughts on what people think the future of zombie stories should be.

[balmakboor]

Speaking of which...is anyone just tired of the zombie thing lately? It seems like everytime I open my local alt-newspaper there's some mention of a local moviemaker's new schlocky zero budget zombie movie. Also, everytime I've attended a party lately, some douchey guy is raving about just how awesome Zombieland is. Inveitably some other guy will say he hasn't seen it, then said douchey guy will say something like "OMG You haven't seen Zombieland yet? It's sooo good!" Yawn.

I haven't seen Zombieland yet. I want to though. It just doesn't sound like it broke any new ground -- or even tried to.

[megladon8]

What would you like to see as a new direction for zombie movies? Can you imagine ways that they could/should be re-imagined? I'm curious because I'm working on a zombie story right now that is quite a bit different from anything I've seen before. But, without specifying how mine is different, I'd like to hear thoughts on what people think the future of zombie stories should be.



It's not that they need to be different, they just need to go away for a while. Same with superheroes.

I love zombies and I love superheroes even more, but it is very much possible to have too much of a good thing. Especially when 8 out of 10 of that good thing actually sucks.

[Pop Trash]

I haven't seen Zombieland yet. I want to though. It just doesn't sound like it broke any new ground -- or even tried to.

I know some people here liked it, but I didn't think it was very funny, scary, or particularly well written or directed (which goes back to the funny/scary thing). It pains me that this has over shadowed the much better Drag Me to Hell in the minds of many horror fans (at least from what I hear in real life, maybe not on the interwebs).

Also, sorry for derailing this thread from Shutter Island.

[Pop Trash]

I love zombies and I love superheroes even more, but it is very much possible to have too much of a good thing. Especially when 8 out of 10 of that good thing actually sucks.

Truth.

[Ezee E]

Watched this a second time today and loved it.

Too many are describing it as a work of pulpy masterpiece when it's quite the devastating character piece. Not just on Leo's character, but Kingsley's too. Kingsley does some great subtle acting here as his experiment just goes in the worst possible direction.

Meanwhile, on the second viewing, there's so many more "tells" and "reveals" that I almost think it's better to have a second viewing.

Much more enjoyable.

[Chac Mool]

A terrific film -- it works both as a story (interesting characters, strong emotions, potent drama) and, for film buffs, as a showcase of great filmmaking talent and film mechanics. And while it's packaged as a genre film, it also packs in enough thematic depth to deserve consideration as a "serious movie".

I also think the actors should be given particular kudos; the key performances are perfect, but it's the bit players I really enjoyed: Jackie Earle Healey, Max Von Sydow and (in particular) the brilliant Patricia Clarkson.

[trotchky]

Speaking of which...is anyone just tired of the zombie thing lately? It seems like everytime I open my local alt-newspaper there's some mention of a local moviemaker's new schlocky zero budget zombie movie. Also, everytime I've attended a party lately, some douchey guy is raving about just how awesome Zombieland is. Inveitably some other guy will say he hasn't seen it, then said douchey guy will say something like "OMG You haven't seen Zombieland yet? It's sooo good!" Yawn.

I watched Zombieland with a friend who used to deal drugs. Now he just exercises a lot. I think we were both amused by it.

March 4th was supposed to be a "day of action." Action by people who feel fucked over by a totality that robs voices. I watched friends get beaten and arrested for a nameless cause.

We were supposed to see Shutter Island the other night. On the way there we got incredibly high and then didn't feel like watching it, so we went back to her house. Her house is nice. She has nice parents. She had to practice (saxophone) so I went home early. We smoked more, at her house, before that. She told me about a guy in New York who calls her Lisa.

[megladon8]

trotchky, that is one of the most all-over-the-place posts I've ever seen.

The mid section - about the "day of action" - where do you live that this was occurring?

[trotchky]

The day of action was in NYC. I live in New Jersey, but close enough to be able to take the train in. Here's (http://gothamist.com/2010/03/05/three_arrested_as_hunter_colle ge_pr.php#comments) some video footage of part of what went down.

[Pop Trash]

Can I switch lives with you Trotchky?

[Ivan Drago]

Can I switch lives with you Trotchky?

Can I have what he's smoking?

[Dead & Messed Up]

I watched Zombieland with a friend who used to deal drugs. Now he just exercises a lot. I think we were both amused by it.

March 4th was supposed to be a "day of action." Action by people who feel fucked over by a totality that robs voices. I watched friends get beaten and arrested for a nameless cause.

We were supposed to see Shutter Island the other night. On the way there we got incredibly high and then didn't feel like watching it, so we went back to her house. Her house is nice. She has nice parents. She had to practice (saxophone) so I went home early. We smoked more, at her house, before that. She told me about a guy in New York who calls her Lisa.

This may be the most perfect post I've ever read. It's marred only by the "edited" time stamp at the bottom.

[Grouchy]

Didn't like this. It's actually a pretty good movie, but it left me completely cold. Maybe it's my general dislike towards twist endings and how they render most movies completely pointless to rewatch. But, like someone else said in the thread, for Scorsese doing pulp, you can't go wrong with the Cape Fear remake (or even The Departed), and that movie is a lot more interesting and intense than this one.

I thought the suspense of some sequences was worth admiring. It certainly went above just making things jump in the dark. And the all-classical score was a nice touch. But most performances, even while being great, felt too much like something we've seen a lot of times before from exactly the same actors - specially Kingsley's. The only time the actors really grabbed my attention was during that very short scene in the car with Ted Levine doing a monologue on violent behavior. Only in that scene did I see some vintage Scorsese at work. The rest was not bad, in fact it was pretty good, but too generic. I enjoyed it, but I could never fall in love with it.

So, while I had a good time at the movies, I seem to expect a lot more from Scorsese. Maybe it's my problem and not the movie's, but it made this a big disappointment. One thing I can say for sure - I never felt for the main character. I didn't feel the reality of his conflict, I just saw him as a tool in the middle of a psychological thriller. I suspect it had something to do with Di Caprio.

[Skitch]

Watched this last night. Pretty good. Scorcese seemed to be channeling Kubrick. The score was incredibly Kubrick-esque. I will have to see it again at home to see how the movie plays when you already know whats coming to accurately grade it, but I did enjoy the film. Could have been trimmed a bit.

I called Leo's identity from the trailer, and his partner's identity thirty minutes in.

[Morris Schæffer]

I called Leo's identity from the trailer, and his partner's identity thirty minutes in.

Blind luck or did you pick up on little hints?

[Skitch]

Blind luck or did you pick up on little hints?

I suspected Leo from the trailer because of the "67 patient", seemed a good twist idea to make him the missing patient. Because of this, I paid real close attention to the beginning. He's a cop on a boat, he walks out as they approach the island and says "So you're my new partner?" Like the first time they met was on the boat?! So then I was suspicious of Ruffalo's identity. When they said the doctor was on vacation, conviently at the time they arrived, I figured that was his role, to watch patient 67.

Maybe I'm twist jaded. :lol: But I do love working this stuff out. This is also why I'm curious how it will play out in a second viewing.

[Ezee E]

How did Leo end up on the boat anyway? Was that an attempt to see if the experiment works or not? Or did he actually manage to escape?

[Skitch]

How did Leo end up on the boat anyway? Was that an attempt to see if the experiment works or not? Or did he actually manage to escape?
Exactly how I knew I was right. My guess is they drugged him up (hence his sickness) and made a few laps around the island.

[Morris Schæffer]

Exactly how I knew I was right. My guess is they drugged him up (hence his sickness) and made a few laps around the island.

Haha stop talking before I realize this movie is actually pants.

[Skitch]

Haha stop talking before I realize this movie is actually pants.

There is no sisterhood.

[transmogrifier]

Gorgeously lurid, with a strong undercurrent of genuine melancholy and a sense of loss and regret infused into every scene. Doesn't quite reach the pulpy, kinetic highs of The Departed, but Scorsese doesn't seem to be aiming for that here anyway.

[Rowland]

Just saw this. It's better than the book, but it still doesn't really work all that well as suspense or drama, the former because the film's reality is so clearly and consistently undercut and Scorsese needlessly bloats the material, the latter because the emotional drama is too sidelined in favor of the expository machinations of both the scheme and Teddy's delusions, though the actors do a fine job mining all they can out of the material. This is probably Kingsley's most nuanced performance in ages. Also, I was surprised by how the film manages to echo some of Scorsese's core themes, though they aren't fleshed out to a satisfying extent.
I thought the stand-out scene in the film was the conversation between DiCaprio and the Warden in the car. The acting between the two was just awesome.Maybe my favorite scene as well.

[Grouchy]

I agree, there's something special about that scene.

[Spun Lepton]

I'm normally really bad at picking out twist endings, so you know your twist is bad if *I* can pick it out by only knowing the premise of the picture. This thing is like Twilight Zone 101. When the twist was revealed and the movie kept playing for a bit, I kept expecting them to go, "Ah-ha! Here is the REAL twist!" but there was none. I am disappoint.

The technical aspects, performances, etc., were all top-notch, as expected from Scorsese, but man, the story is such a disappointment that I just can not give it a very high rating.

[megladon8]

I'm normally really bad at picking out twist endings, so you know your twist is bad if *I* can pick it out by only knowing the premise of the picture. This thing is like Twilight Zone 101.

The technical aspects, performances, etc., were all top-notch, as expected from Scorsese, but man, the story is such a disappointment that I just can not give it a very high rating.


Like people have said previously, I really didn't think it was meant to be much of a twist.

It's really obvious.

Hell, his conversation with Jackie Earl Haley's character tells you exactly what's going on.

I thought the film was more about watching DiCaprio's journey to discover the truth, not so much about the audience discovering the truth.

[Spun Lepton]

Like people have said previously, I really didn't think it was meant to be much of a twist.

It's really obvious.

I'm not about to argue Scorsese's "true" intentions.

[BuffaloWilder]

And then baby doll was like, "marty, marty, marty."

[megladon8]

I'm not about to argue Scorsese's "true" intentions.


Okay then?

[Morris Schæffer]

There's considerable tragedy in the final reveal which, I thought, gave the picture's conclusion something extra, something rather potent.

So agreed with Meg, but my initial reaction was just like Spun's.

[Dead & Messed Up]

I'm normally really bad at picking out twist endings, so you know your twist is bad if *I* can pick it out by only knowing the premise of the picture. This thing is like Twilight Zone 101. When the twist was revealed and the movie kept playing for a bit, I kept expecting them to go, "Ah-ha! Here is the REAL twist!" but there was none. I am disappoint.

The technical aspects, performances, etc., were all top-notch, as expected from Scorsese, but man, the story is such a disappointment that I just can not give it a very high rating.

I wonder if Scorsese's real twist ending was in the final minutes, when we learn that...

Dicaprio's character is aware of his delusion, but chooses to pursue it anyway, so that he can be brain damaged out of his guilt.

Because that is pretty damn haunting. Certainly moreso than finding out that...

ZOMG he's just another patient!

EDIT: What Morris said.

[Rowland]

I wonder if Scorsese's real twist ending was in the final minutes, when we learn that...

Dicaprio's character is aware of his delusion, but chooses to pursue it anyway, so that he can be brain damaged out of his guilt.

Because that is pretty damn haunting. It is a fascinating twist on the material, but it plays as too little too late for me. If more of the film had explored the idea, it may have carried more thematic and emotional resonance.

[Spun Lepton]

I wonder if Scorsese's real twist ending was in the final minutes, when we learn that...

Dicaprio's character is aware of his delusion, but chooses to pursue it anyway, so that he can be brain damaged out of his guilt.


Fair enough. As Rowland said, it plays a little too late, the disappointment was already overshadowing everything by that point. I never said I hated it, just that I was very disappointed. It didn't help that every one of their TV adverts claimed there was a "twist ending that you'll never see coming!!!1" Well, I saw it coming before I even put the disc in.

[Robby P]

I'm of two minds about this movie. On the one hand, this might be the most idiotic narrative I've had the misfortune of sitting through in years. On the other hand, Scorsese really does do an admirable job of trying his hardest to lend pathos and genuine emotion to this schlock. It's pulp but something more.

I can't say I wasn't entertained but dear God did they drag that horrific "twist" out for so long that it become downright painful to watch.

[megladon8]

I'm of two minds about this movie. On the one hand, this might be the most idiotic narrative I've had the misfortune of sitting through in years.

I really don't understand these vehement comments with regards to this movie.

It wasn't high drama, but surely you can't say this is below dreck like the Transformers movies or the 32 romantic comedies starring Matthew McCaughneaheaoegforriuiyhmfng that come out every year.

[Spun Lepton]

I really don't understand these vehement comments with regards to this movie.

Bad twist was bad.

[megladon8]

Bad twist was bad.


I'm not about to argue the "twist".

[Dukefrukem]

In 1997, I would have never guessed I'd love three movies DiCaprio would play the lead.

[BuffaloWilder]

...the ending was supposed to be a twist?

[Dukefrukem]

...the ending was supposed to be a twist?

Which ending are you referring to?

1. That he's a patient?

2. That he accepts the lobotomy knowing that he's a patient?

[Henry Gale]

Which ending are you referring to?

1. That he's a patient?

2. That he accepts the lobotomy knowing that he's a patient?

If you choose to intepret it that way, for #2. I'm still not so sure I do, but I also haven't seen it since its opening weekend.

[Ezee E]

If you choose to intepret it that way, for #2. I'm still not so sure I do, but I also haven't seen it since its opening weekend.
I couldn't see how one would think differently.

[Henry Gale]

I couldn't see how one would think differently.

I see why it could be the other, but it works nicer for me to think of the whole experiment to be a failure, DiCaprio's character to die without knowing the guilt of killing his wife and to have him saying the "live as a monster, die as a good man" line to work more towards him believing what he's being told as false and for him to have his life ended "knowing" they're wrong.

I think having his fractured state reset him once again (as Kingsley's character said it has many times before) after hitting the breakthrough is a much less hopeful, but more haunting ending to the film.

[Sycophant]

There were some striking, fun, and impressive moments. But I basically agree with Winston*.

[Spaceman Spiff]

I thought this was great pulpy fun. Obviously not another Taxi Driver, but I don't expect those kinds of movies from Marty anymore.

[monolith94]

It seems like I have a totally different interpretation of this film than anyone else.

[megladon8]

It seems like I have a totally different interpretation of this film than anyone else.


...

...

Shouldn't that statement be accompanied by said interpretation?

[monolith94]

Alright, here it is:

Essentially, one way to interpret the movie is that there really IS something going on at Shutter Island, and that nod from Ruffalo's character isn't to signify that the treatment was unsuccessful, but rather that the treatmant WAS successful: they have successfuly implanted into him the delusion that he killed his wife, and this delusion being successful, he came to imagine his real quest was just an imaginary fantasy: a fantasy that he now latches onto, despite his mind being broken by experimental psychology.

Now I'm sure there's probably a lot of in the film evidence against this, but I like it, especially having recently read a history of Western experimentation in this field, which this movie reflects if not totally accurately, at least somewhat truthfully to the actual history.

[Bosco B Thug]

Shutter Island suffers from its nature as a mind-bender. It's too busy being convoluted. Shutter Island's high style is diverting but lacks focus - most often it's distracted po-mo grandiosity (I will admit Scorsese's bombastic use of his borrowed score is a pleasure, and reminds me how anemic film scoring can be nowadays). Scorsese's anti-continuity shtick and hallucinogenic cinematography were less expressive as they were contrived.

Most of all, the film is bloated and overlong. Rather than letting anything sink in, the film moves (boringly) a mile a minute with incessant luridness and condescending B-movie silliness. Most of the time it's just going through the motions, and it stinks of a complacence with the insinuating notion of "genre film mediocrity." The traces of poignancy that Scorsese no doubt does see in the material he ultimately fails to respect. The film feels coldly planned and plotted.

I thought the material and artistic interpretation of the material was quite rich, though, rug-pulling and all. The film equates the institutional man's greatest nightmares with the world's grandest, most devouring conspiracy, as if conspiracy is what has to exist for the world's greatest atrocities to occur. And as so, the mind may only be able to cope with it through madness. Shutter Island's use of genre tropes - the grizzled cop, the conspiracy games, the tormenting ghosts - is a sly acknowledgment of genre diversions as indulgences of a temporary madness, and ultimately wild, impotent fantasy. DiCaprio's lofty desires to excavate the truth and reclaim moral order ends up a game of role-play. Scorsese and the screenwriter stack it high that DiCaprio is actually a delusional case, but the tableau of the film is clear: that all these terrible things, from imagined administrative abuse to real mad housewives, are all but possible. A welcome ambiguity in the final moments suggest some men and women - often the violent kind - simply do dictate the world, and that the madmen have got the right idea checking out and then checking in. (From this angle, I find myself entertaining monolith's idea that there really is a cover-up.)

The performances are uniformly fine, with DiCaprio the weak link, not because he is bad, which he isn't, but because he seemed really miscast. He plays it either too big or too small, likely in the need to step up to a role he's not fit for when everyone around him is fitted perfectly. Believe it or not, this is my first Jackie Earle Haley performance and he already seems quite versatile. Michelle Williams again proves herself one of the most capable young actors in Hollywood.

[Mysterious Dude]

Is the editing in this movie intentionally bad? I noticed a lot of continuity errors, but I wonder if they can be justified by the questionable mental state of the protagonist.

The movie reminded me of The Shining. I found the atmosphere very effective, if deeply unpleasant.

[jamaul]

More and more, I'm finding myself deeply intrigued by this film. I initially disliked Shutter Island, but now I've come around and I find it Scorsese's best since Gangs of New York, at least, and quite possibly his most curious work since Last Temptation of Christ.

I think time may see many coming around on this ... it's perhaps Scorsese's Vertigo and Shining, all rolled into one.

[Qrazy]

More and more, I'm finding myself deeply intrigued by this film. I initially disliked Shutter Island, but now I've come around and I find it Scorsese's best since Gangs of New York, at least, and quite possibly his most curious work since Last Temptation of Christ.

I think time may see many coming around on this ... it's perhaps Scorsese's Vertigo and Shining, all rolled into one.

My two least favorite Scorsese films... well those and Boxcar Bertha.

[jamaul]

My two least favorite Scorsese films... well those and Boxcar Bertha.

Dude, that's qrazy. :D

I can understand disliking Gangs (although I prefer it to his more acclaimed Departed, Aviator and Age of Innocence), but I think Last Temptation is his best film. In fact, it topped my 1980s list on the recent vote.

[Ezee E]

Watching this again on DVD for the first time. It's definitely improving on each viewing.

I do question the placement of the hidden note that Teddy finds, and the overall search that's going on in the fields when Teddy arrives. Seems extensive for the healing of one patient.

I'd also like to hear Scorsese talk about the intentional editing of a cigarette/drink being there and then no longer...

[Grouchy]

I'd also like to hear Scorsese talk about the intentional editing of a cigarette/drink being there and then no longer...
I think the intention of those cuts becomes obvious by the film's end.

If the entire hospital is play-acting out a story meant to take Leo's character out of his paranoia, it makes sense that they'd pretend to use objects that aren't really there.

[Ezee E]

I think the intention of those cuts becomes obvious by the film's end.

If the entire hospital is play-acting out a story meant to take Leo's character out of his paranoia, it makes sense that they'd pretend to use objects that aren't really there.
Ah. That does work. Thanks.