Shutter Island (2010)

*** SPOILER ALERT ***

Although I will not blatantly reveal elements of the film’s plot in this critique, something may “slip” that could potentially be unpleasant to you.

Shutter Island is a catalyst for a much larger discussion about the critique of film, or more simply, the evaluation of a given picture. In an ideal world (or perhaps not) we would be exposed to films in a societal vacuum. Although a vacuous state of being may seem unappealing to most, it would significantly impact the way we construct thoughts and judgments toward the movies we see. Films evaluated in this “bubble” would be assessed on their own merits and shortcomings without comparisons to other works. For better or worse, however, moviegoers do not “digest” films in this way. The reality is that we compare every new film we see to others we have already seen. When the Academy awards the “Best Picture” honor to a film, it does so not only on the individual accomplishments of that work, but in relation to all other nominees in the category. To put it simply, comparison is a part of criticism.

Martin Scorsese’s Shutter Island is a prime example of a film that is evaluated by comparison. More specifically, it is a film hindered by comparisons. By hindered I do not mean that the film pales in comparison technically to other films of its “kind.” The hindrances of this film come from filmgoers’ peripheral evaluations of its predominant feature: its “twist.” Unfortunately for Scorsese and others associated with this picture, the fact that it attempts a “twist” ending acts as a curse. If viewed in a “bubble” twist endings would be consistently well received, based on shock value. Unfortunately, a film that incorporates a twist ending will inevitably be discussed and “hyped” on the merits of that twist alone. This type of publicity creates a sense of anticipation in the viewer, so that the entire cinematic experience (the actual film included) is meant for nothing more than to set up the twist. Ironically, this type of publicity takes all of the genuine suspense out of the twist, making way for harsh, unjustified evaluations of the film in all its aspects.

Shutter Island is a beautifully executed film. This should come as no surprise considering the man responsible. Martin Scorsese is a man of remarkable talent. More than for talent, I respect Scorsese on his directorial breadth. Taxi Driver (1976), Goodfellas (1990), Gangs of New York (2002), and The Aviator (2004) are examples not only of powerful cinematic works, but also of Scorsese’s brilliant breadth and variability. As far as his directorial achievements go, Shutter Island is noteworthy. I don’t lightly make comparisons to the late Stanley Kubrick, but the way Scorsese crafts the setting for this picture is incredibly reminiscent of Kubrick’s establishment of the Overlook Hotel in The Shining (1980). Specifically, Scorsese does a marvelous job of emphasizing feelings of eerie isolation (which contribute significantly to the effectiveness of the narrative). The film truly does act as a psychological thriller. There are very few “boo” scares, resorting much more to fear based on psychological (leading to sometimes physiological) discomfort for the viewer. The film’s blood-curling camera work does wonders in entrancing audience members into giving complete attention to the next narrative “clue.”

The role of the actor in a film like this one is somewhat muddled. Of course, the performances must be convincing, but they should never once be the audience’s primary focus. Leonardo DiCaprio (Marty’s new De Niro) comes through again with a perfectly composed performance, not too big, not too small. Supporting actors Mark Ruffalo and Ben Kingsley are also quite effective in their respective roles, advancing the narrative appropriately without taking over.

Shutter Island is, by my standards, an excellent thriller. When evaluated as a thriller, the film stands on its own by ways of near-flawless execution. The problem comes from the necessity to also evaluate the film based on how its ending compares to others of its kind. After all, this is the method by which most filmgoers will react to it. By this standard, Shutter Island falls a tad short. Although extremely well executed, the film’s “twist” did not leave me quite satisfied. Still a good, solid film by my recommendation, Shutter Island may have been considered truly great… if it had been released ten years ago.

Rating: 7/10

© 2010 Brent Bracamontes