An aspect of the Shutter Island is to record some attempt at self-knowledge and its failure in the horror of discovering that evil is incalculable and is not to be found outside.
Scorsese achieves consistency, analogies and a rhythm of great power, robust construction and presentation of the theme the way it happens in movies that we recognize to be ‘classical’.
From the first moment, when reality emerges through Chaos, to the last, the cancellation of a self-destructed freedom, the film moves in a steady and high intensity. Over other possible readings, what impressed me the most was the depiction of a false or paranoid existence as equally real. The idea is simple and old, which makes the success of Scorsese even greater.
Those who are tired of movies with predictable end, will find in Shutter Island the unexpected — which, however, is not happening as a ploy to renew or peak the interest, but completing precisely the emergence of the strong reality of the paranoid world.
Sometimes the atmosphere reminds of Shyamalan. Di Caprio is excellent.
Shutter Island was a pleasant surprise, even more because it comes from a director who has accustomed us to different styles.