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, symmetry and a rhythm of great power, robust construction and presentation of the theme the way it happens in movies that we recognize as ‘classic’.

From the first moment, when reality emerges through chaos, to the last, the self destruction in the cancellation of freedom, the film moves in a steady and high intensity. Over other possible readings, what impressed me most was the depiction of a paranoid existence as real, even as a choice of an omnipotent will, and the idea of a morality that excludes forgiveness completely. 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 the interest, but completing precisely the emergence of the strong reality of a paranoid world.

Sometimes the atmosphere reminds of Shyamalan. Di Caprio gives one of his finest performances.

Shutter Island was a pleasant surprise, even more because it comes from a director usually interested in different styles.