Shutter Island (2010)

Why I saw it: Psychological thriller + Insane asylum + Mysterious disappearance = Required viewing.

The verdict: 4 out of 10/C

Let it be known that I do not claim allegiance to any particular directors. A select few have certainly earned my admiration for their innovative styles and ability to continuously entertain me (i.e. Tim Burton), but no film earns praise - or disparagement - from me simply because a particular director is at the helm. Thus, I do not buy into the "so and so" can do no wrong mentality that often clouds the viral marketing sphere prior to a major film's release. I wouldn't call Shutter Isalnd a major film save for the fact that it is the follow-up to Martin Scorsese's Oscar winning The Departed (2006). Among those who bow before the Scorsese Shrine, talk of second golden trophy surrounded this film. Not to get ahead of myself, but I think even the Academy is opposed to that amount of ass-kissing.

Scorsese's filmmaking gift is the ability to immerse his audience into the action of the stories he tells. The audience feels what his characters do and become a part of the story being told on screen. Shutter Island seemingly becomes the perfect venue for Scorsese. Within the confines of the Shutter Island compound nothing is ever certain, and as we are forced to live inside the head of protagonist Teddy Daniels, we walk alongside him as he reconciles the truth within his situation. However, Scorsese's adept ability to get our blood rushing only takes Shutter Island so far, as the film becomes rather one-note, and delivers a recycled, uninspired climax that is readily apparent early in the film, and leaves the viewer wanting more.

Federal Marshall Teddy Daniels (Leonardo DiCaprio) arrives at Shutter Island, an insane asylum that is as secluded as its name suggests, with his new partner Chuck Aule (Mark Ruffalo) to investigate the mysterious disappearance of interned murderess Rachel Solando (Emily Mortimer and Patricia Clarkson). Shutter Island's founder and director Dr. Cawley (Ben Kingsley) gives both Officers free range of the island, but he and his staff remain rather hush about the nature of her disappearance and possible escape. As the Officers begin to uncover the secret behind Rachel's disappearance, they - particularly Teddy - find themselves caught in a web of truth, lies, and paranoia that leads them to believe something bigger and possibly more formidable is occurring within this Asylum.

Scorsese has certainly played up all the qualities audiences have come to fear from film-based insane asylums - patients both physically and mentally monstrous, decrepit buildings lined with sunless hallways and prison bars, and an air of insanity that plagues everyone within the asylum's reach. The Asylum is the ultimate in discomfort and Scorsese has achieved an atmosphere that is generally both mentally and visually exhausting - despite creating a visual quality through the contrasting use of both vibrant and bland colors. Additionally, the film's minimalist score, made almost entirely of a few harsh chords struck in repetition, rattles nerves. There is very little easy listening here. It becomes the literal pounding headache one gets when he is overwhelmed by a situation. Indeed, the visual and audio components of the film become grating as we continuously latch onto the paranoia Teddy experiences. Credit should be given where it is due, and Scorsese, along with the multiple composers who created the score, successfully use atmosphere to destabilize our fragile minds.

Discounting the film's technical successes; however, is the fact that the story is also grating, becoming a bore of predictability. Despite the film's polish, it gives itself away within the first half hour, yet plays the remainder of its run as if the audience is still in the dark, as confused as Teddy is about the strange nature of the Asylum. Admittedly, part of the enjoyment of a psychological thriller stems from trying to solve the mystery before the film exposes it, but even the most successful film decoders like a challenge. The truth here is readily apparent to anyone who has seen a psychological thriller or two - or even Shutter Island's trailer. After realizing what is happening, the viewer stays ahead of the film and must endure watching it catch up. Save for filling in a few minor details that explain certain characters' motivations and visions Teddy experiences, the film offers nothing on top of this predictable climax, leaving the viewer disappointed.

This is disheartening as it wastes both the technical efforts, and additionally, the strongest performances of the film from Jackie Earle Hayley (as George Noyce) and Patricia Clarkson (as Rachel II). Both characters are briefly encountered by Teddy during his search for truth, yet provide much of the story's backbone. Their performances are both captivating and disturbing, and both performers affirmatively create what are the film's most memorable and intriguing scenes. Still, the story's bland predictability undermines their screen time and keeps the viewer from fully appreciating their place and purpose in the film.

Other performances given by Ruffalo, Kingsley, and Michelle Williams (as Dolores Chanel, Teddy's deceased wife) remain intentionally downplayed to supplement the mystery clouding their characters. Each performer feels genuine, but really isn't provided ample screen time since they are playing second string to DiCaprio. This brings me to the film's second upset - the miscast of Leonardo DiCaprio. DiCaprio has shown he can act, but, at the age of 35, he still brings a boyish quality to his performances that just doesn't fit here. DiCaprio's performance doesn't capture the maturity that one would expect from a middle-aged federal marshal or from a man who has experienced what we learn Teddy has. Instead, his character comes across as a 19-year-old playing cop with a phony badge who has found more than he bargained for. Even the film's final revelations provide no grounds for DiCaprio's characterization of Teddy.

Shutter Island is based on a book of the same name, which perhaps better sustained the story. On the screen; however, the final product is slow and leaves the viewer hollow. For a film that attempts to dwell in the deepest parts of the subconscious, what actually plays out is rather simple and quite disappointing. In the end, the investment is not worth the return. The interesting facets of our protagonist are never fully exposed and the film actually misses several apparent opportunities to dig a little deeper. Perhaps if it had taken one of these avenues - which wouldn't require much tweaking beyond the third act - it would have provided a bit more substance.

To Scorsese's credit, Shutter Island finds footing on its technical merits, and forces its audience to live in the mind of Teddy. However, all this is bowled over by a story that comes up short, and in the end, just isn't that interesting. Certainly some will call this film perfection or convince themselves there was something more simply because it bears the Scorsese name. The truth remains; however, that once the credits roll, very little is left to ponder except why 2 hours and 20 minutes was needed to unveil what was blatantly obvious in the first act.