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. <\/p>\n
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’.<\/p>\n
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.<\/p>\n
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. <\/p>\n
Sometimes the atmosphere reminds of Shyamalan. Di Caprio gives one of his finest performances.<\/p>\n
Shutter Island was a pleasant surprise, even more because it comes from a director usually interested in different styles.<\/p>\n