Shutter Island – Review

Just right when you think Martin Scorsese might be putting on the cruise control in his later part of his career, out comes Shutter Island, a furious exploit into a genre that Scorsese has rarely visited. That genre could be perceived as the horror genre, as there are a few moments that would be proudly touted as such, but I liken Shutter Island to what Hitchcock had always done. Where Hitchcock’s films ever really horror, out side of Psycho? Not really. But it’s a blast seeing such a legend in the film world take a stab at a film with such conventions, and Scorsese instantly makes this better, than if another director would have touched it. He’s a much appreciated and loved film maestro, and he hits each note of the genre conventions with such grace, we really don’t mind that the film almost suffers from that Kubrick The Shining syndrome in its third act.

Immediately the film is captivating. The opening notes to what Robbie Robertson curated under the Paramount logo swells us into the film’s forthcoming mystery. The cinematography is gorgeous, easily capturing the Gothic nature to the story. It’s the suspense of the film that leaves us in our seats, something Scorsese knows how to do well, as a lot of the film structurally feels like his own Cape Fear. For most of the film, one wishes Scorsese had been more in tune to seeking out these genre pictures, as his film knowledge serves him well in Shutter Island.

Remember when Stanley Kubrick sought out and did Stephen King’s The Shining in 1980? We have a master director, a crafty storyteller, that birthed a film that missed a punch, a much-needed flash of “boo” that would’ve send the film into the stratosphere. Kubrick is one of cinema’s best directors, as is Scorsese, but since The Shining and at times, Shutter Island, plays out like a horror film (especially The Shining), it shows that this is a genre that both really don’t know incredibly well. Kubrick’s film is anchored by the rowdy performance of Jack Nicholson, but it missed some horror beats that a horror-smart director would’ve nailed. Scorsese isn’t too concerned with terrifying us like Kubrick hoped in his film, but these types of film’s needs to end with a bang, and Shutter Island ends with a whimper.

The ending here seems like a thriller/suspense/horror veteran would easily see coming, and that problem is more for screenwriter Laeta Kalogridis than Scorsese, although his visual splash is missing here, aiding the generic conclusion. It’s very Cabinet of Dr. Caligula (1919), but one would expect Scorsese’s deep film knowledge to peak up. The ending literally trickles down, leaving many with a filling of being unsatisfied. Now, I personally haven’t read the book, but for the film, it seemed rather generic to end like it did, when the first hour and 45 minutes were so stellar. It’s also the type of ending, that with a repeated viewing of the film, could work better the second time around or collapse the film. We’ll see, but Shutter Island instantly proves Scorsese is like fine wine, as his film’s are just as good now as they were in the past. Does it matter where Shutter Island stands amongst his other work? No. Shutter Island is a must-see, but watch out for the lack-a-dazed ending.

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