Leonardo DiCaprio, Ben Kingsley, Mark Ruffalo and Max von Sydow.
US marshal Teddy Daniels’ latest case takes him to a forgotten corner of New York’s fog-shrounded waterways. His assignment? Investigate the disappearance of a patient from a hospital for the criminally insane. But not long after landfall, it appears to Teddy his efforts are going to by compromised by the evasive resident psychiatrist…as well as his disturbing visions.
Ever experience déjà vu? You know, that feeling of uneasy familiarity, like you’ve done this or that once before? Of course you have. You’re having it right now. You’re reading another one of my screeds here at RIORI buttered with my signature ribald, snappy repartee. Welcome back!
Seriously though, before I delve into the déjà vu enigma some more, I think I need to clarify something. These reviews were reserved for films that “had a dubious reputation or lacked box office mojo.” Shutter Island definitely did not suffer from a lack of mojo. When all was said, done and tallied, this little film walked away with over a hefty $128 million at the box office. This little psych-thriller here had a budget of around $80 million. Not bad. Didn’t hurt that it was directed by Scorsese and starred his current protégé DiCaprio.
What did hurt Island in my view is based on this story I heard from a friend of mine. Let’s say she had an interesting experience when seeing this movie in the theatre. Seeing. Not saw. As in “during the movie proper.”
Hm. BTW, we ain’t talking about yelling at the screen as if the actors can hear, or some nabob yakking on his phone. We’re talking about a dissatisfied customer. If any movie, successful or no, could upset a viewer in frustration then the movie gets the autopsy here. That and another buddy of mine insisted I see it and blog about it. You’re welcome, Rios.
So anyway, here’s what she told me:
It was your typical Friday night out at the multiplex. The big deal release at the time was Marty’s Shutter Island, which I heard was Marty’s first psycho-thriller (Cape Fear doesn’t count. That was a remake). The turnout was big—full house. My friend found a seat at the back of the theatre; that what was left that night, the place was so packed. It inadvertently gave her the cat’s bird seat to witness what would transpire later on.
About halfway through the film, a patron, obviously displeased, got up and shouted to no one in particular, “Does anyone f*cking get what is f*cking going on in this film?!” This outburst generated a bigger audience reaction than the action of screen. He threw his popcorn to the floor, spat out a few more profanities and promptly stormed out of the theatre. I think she mentioned something about even Leo losing his motivation. One could make the argument that Scorsese’s latest film succeeded in creating psychological tension, but I don’t think that’s what he had in mind. Well, for the sake of this installment it sounded like a dubious enough rep for me.
Sigh. I wish I had gotten as torqued as that angry stranger in the darkness with his strewn popcorn.
I too, after sitting through this movie, had similar sentiments. And a feeling of déjà vu. I had seen this movie before. Or at least, this kind of movie. And despite the trademark storytelling verve Scorsese imbues into most of his movies, Island was based on very few original plot lines.
But before I get all bitchy, first here’s the good stuff.
I don’t know who the location scout was for the movie, but they did a brilliant job of finding an ideal setting for madness. The whole sanitarium compound has a great, Lovecraftian feel. Craziness dripping from every pore. Even the main characters seem a little…off, as though a reflection of the island’s inhabitants. Slow tracking shots makes whole scenes seem isolated from reality. You really can pilot Teddy about the complex with the sense of solitude. And not the kind you want. Creepy is the watchword.
There’s some brilliant editing, especially the flashback sequences to Teddy’s army days and wife’s tragedy. Things seem to flow pretty well also, albeit a bit quickly. At certain points some scenes seem rushed, especially when Teddy and his sidekick Chuck (Mark Ruffalo, who is a solid presence) are casing the joint. Speaking of acting, Kingsley’s performance is at his most sinister here, vacillating between paranoid and professional. This is a guy who you can’t f*ck around with, because he can see all and know all on the island. Shiver.
Second, the bad stuff. The main offense? This film is unoriginal. I could not shake that feeling of déjà vu watching it. I knew that this kind of story has been told before, and not just in the typical, snobby, “there are only so many plots out there yadda yadda blah.” No. I had seen this movie before, a dozen different ways. The best and immediate example I can recall is with Hitchcock’s Vertigo. I could cite quite few more films (without revealing the plots) that have used the exact same formula that Island employs. Angel Heart for one. The Machinist—which I reviewed here before—is another. The whole psychological “lost time” gimmick has been used with varying degrees of success before. But it has been done before. You would think Scorsese would have figured that out by now.
Shutter Island suffers greatly from déjà vu. This all had been done before. And it’s a real shame, because there’s a great deal of capital Q quality in this film. The acting’s good. The casting great. The atmosphere is suitably creepy. But the film lifts dozens of tropes from other films that may have done it better. It doesn’t make sense knowing of Scorsese’s encyclopedic knowledge of film technique that he cut Island the way he did. Maybe he was just f*cking around, nodding and winking to Hitch. I hope so, rather than f*cking around at the audience’s expense, not unlike represented by the anonymous, angry filmgoer’s philosophy. As for me, the only “lost time” I got from this movie was 2 hours and 18 minutes.
Ever experience déjà vu? You know, that feeling of uneasy familiarity, like you’ve done this or that once before…?
Rent it or relent it? Relent it. Despite all the good things that hang on this film, the plot device is tired due of gimmickry and sloppy writing. Nice trying, Marty. In fact, quite trying.
- “You act like insanity is catching.”
- So what was with the Band-Aid?
- Hey! It’s Buffalo Bill! He hasn’t aged too well.
- Why is it always the last match that burns the longest? Yet another movie thriller gimmick. Scorsese’s copping to Friday The 13th now?
- Hey! It’s Rorshach! He hasn’t aged well either.
- “(whatever Chuck says)…Boss.”
Bradley Cooper reads up on the Silver Linings Playbook. Fly birds, fly!