Review - "Shutter Island"

"Wouldn't you agree, when you see a monster, you must stop it?" - Dr. Jeremiah Naehring in "Shutter Island"


When we first meet U.S. Marshal Edward "Teddy" Daniels (Leonardo DiCaprio), he is ill from sea sickness aboard the boat ferrying him and his new partner Chuck Aule (Mark Ruffalo) to Shutter Island - the remote location of the Ashecliffe Hospital For The Criminally Insane. These two federal marshals have been called in to investigate the circumstances surrounding the escape of Rachel Solando (Emily Mortimer) - a patient suffering from delusions after drowning her three children. With a hurricane bearing down on the island, Teddy and Chuck find themselves trapped on the island and forced to carry out their investigation under the watchful eye of the less-than-forthcoming chief psychiatrist Dr. John Cawley (Ben Kingsley). Suffering from vivid nightmares of his traumatic experiences during the war and headaches that grow more painful by the hour, Teddy becomes increasingly paranoid about the goings-on at Aschecliffe and reveals to Chuck his ulterior motive for venturing to Shutter Island - to find the man responsible for the tragic death of his wife Dolores Chanal (Michelle Williams) in an apartment fire. But, like everything on Shutter Island, nothing is what it seems and, with each new twist and turn, Teddy is forced into a frantic search for the truth that will lead to him towards a shocking climactic showdown.

"Shutter Island" is a breathtaking experience. Directed by the acclaimed Martin Scorsese ("The Departed", "Taxi Driver"), "Shutter Island" is an engrossing mind-bender that easily surpasses any film released so far this year. Based upon the novel by Dennis Lehane, whose other works "Mystic River" and "Gone Baby Gone" have also been adapted into films, it weaves a complex tale about the human mind and the things we are capable of in the wake of unspeakable acts of horror. Having collaborated previously on 2006's Best Picture winner "The Departed" and the films "The Aviator" and "Gangs of New York", Leonardo DiCaprio and Martin Scorsese continue to build an excellent rapport with this latest collaboration and DiCaprio delivers a knockout performance here as a confused man searching for answers in a place full of secrets. Scorsese, as always, directs a visually stunning film. Bringing the words of screenwriter Laeta Kalogridis to life, Scorsese creates a chilling atmosphere with a sense of foreboding that never seems to fade and orchestrates scenes that will send shivers up your spine. Rather than relying on visual effects, what makes Scorsese great is the way he frames his scenes and create that sense in the audience that you are actually experiencing the movie.


I've grown particularly fond of DiCaprio - particularly in "The Departed" and "Catch Me If You Can" - and he continues to impress here as the federal marshal caught in a web of deceit and darkness. While some may criticize his performance as one-note, DiCaprio succeeds in conveying a number of emotions as he oscillates between a man determined to find the truth and a man terrified of what he might find. There are a number of dream sequences in the film - all of them surreal and vivid thanks to the masterful direction of Scorsese - and provide a wrenching look inside the psyche of the haunted and tormented Teddy, made all the more emotive by the superb acting of Leonardo DiCaprio. Ben Kinglsey, as the seemingly up-to-no-good chief psychiatrist of Ashecliffe, and Mark Ruffalo, as the marshal who often plays skeptic to Teddy, also provide strong performances. It is a bit of a return to form for Kingsley after his recent slew of mediocre films and his intriguing performance allows him to steal almost every scene he's in. Ruffalo, in my opinion, is one of the finest supporting actors working in Hollywood today, with his roles in "Collateral" and "Zodiac" being some of my personal favorites. Max Von Sydow, Emily Mortimer, and Jackie Earle Haley are all effective in their minor parts but it is Michelle Williams whose performance, seen completely in flashbacks and dream sequences, is one of the most powerful and chilling in the film.

Another aspect of "Shutter Island" that impressed was the music. Part of what makes "Shutter Island" so engrossing and tense is the creepy atmosphere throughout the film and the score plays a large role in establishing that distinct sense of dread that builds as the plot continues to twist and turn.

Overall, I consider "Shutter Island" to be the best film released so far this year. While some may consider it a departure from what Martin Scorsese has done in the past, I feel that a "straight-forward thriller", if you can call it that, like this is nothing to roll your eyes at. With great all-around performances from a superb cast of actors and a gripping plot that twists and turns it way towards a shocking climax that few will see coming, "Shutter Island" is sure to keep you on the edge of your seat and leave you talking about the ending for days after you've already left the theater. My rating: 9/10

Review - "The Wolfman"

"Even a man who is pure in heart and says his prayers by night may become a wolf when the wolfbane blooms and the autumn moon is bright." - Opening Lines of "The Wolfman"


Theatre actor Lawrence Talbot (Benicio Del Toro) returns to his hometown of Blackmoor, England in 1891 after receiving word that his brother Ben Talbot (Simon Merrells) has disappeared. Upon his arrival, Lawrence is informed by his estranged father John Talbot (Anthony Hopkins) that Ben has indeed been found - dead in a ditch, having been ravaged by some kind of feral beast. Sympathetic towards his brother's grieving fiancee Gwen Conliffe (Emily Blunt), Lawrence vows to hunt down the murderer and, in his search for answers, is led to a gypsy camp where Ben came into possession of a strange medallion. But, during his visit with the gypsy Maleva (Geraldine Chaplin), the camp is attacked by a wolf and Lawrence is savagely bitten in the ensuing confrontation. Nursed back to health by Gwen, Lawrence begins to undergo bizarre physical changes and, when his wound vanishes completely, draws the suspicion of superstitious local townspeople. To complicate matters, Inspector Francis Abberline (Hugo Weaving) has arrived to investigate the recent attacks and takes an unusual interest in Lawrence - and his dark past. Soon, Lawrence is forced to unleash a beast from within that he never knew existed and unspeakable acts of horror follow.

Directed by Joe Johnston ("Jumanji", "Jurassic Park III"), "The Wolfman" is a throwback to the classic monster movies of old. Having followed all of the rumors of reshoots and last-minute editing and the repeated delaying of its release date, I went into "The Wolfman" with cautious expectations, bracing myself for the possibility of it being a complete and utter mess of a film. To its credit, I was pleasantly surprised by what I saw despite the fact that there some obvious parts where post-production edits had done a number on certain scenes. As a result, the beginning felt a little rushed at times, with some scenes feeling as if part of them ended up on the cutting room floor, and the pacing throughout seemed a little too up and down for my tastes. It'll be interesting to see if the studio releases an extended version on DVD and, when restored, what kind of effect those edited scenes have on the movie as a whole. Pacing and editing aside, "The Wolfman" succeeds in fulfilling its promise of providing horrific and gruesome thrills and doesn't pretend to be something its not. It never descends into one of the kill-a-minute slasher flicks that flood the theaters today but instead creates a sense of emotion with the characters while maintaining is traditional monster movie themes.

In the lead role, Benicio Del Toro is actually rather good here and earns the sympathy of the audience for his portrayal of a man haunted by his traumatic past and tormented by the tragic curse that has befallen him. Like a regular Jekyll and Hyde, Lawrence never allows the darkness of his monstrous alter ego to consume him and is driven by his need for redemption for what he has done when under the power of the beast (though a need for something else does come into play later in the film but revealing it here would spoil a nice twist). Del Toro impressed me here with his performance. Anthony Hopkins comes close to being over-the-top but never goes so far as to chew the scenery in his role as the estranged father who appears more interested in tormenting his son than being an actual father figure to him. Hopkins often comes off as cold and masochistic but keeps much of his character's intentions and motives in the shadows, to great effect. It is the dynamic between Del Toro and Hopkins that holds the story together and drives it towards its fiery conclusion. Emily Blunt is under-utilized here as the love interest Gwen Conliffe and it was interesting to see Hugo Weaving in a different role than we're to used to seeing him in.


As for the transformation scenes, color me impressed. Everyone knows that the money shots in any werewolf movie are the transformation scenes and "The Wolfman" doesn't disappoint. Relying heavily on computer-generated effects for the scenes in which Lawrence turns into a wolf man, the transformation is gruesome enough to make you feel his pain and never seems too unrealistic despite the use of computer imagery. While hardly measuring up to the now-classic scene from "An American Werewolf In London", the transformation sequences in "The Wolfman" get the job done. In the case of make-up for the actual werewolf, you can't go wrong with Academy Award-winning make-up artist Rick Baker and he does a wonderful job here with Del Toro.

Overall, I liked "The Wolfman". I'm a fan of the original "The Wolf Man" from 1941 and, while this remake hardly measures up, "The Wolfman" has its merits and is a very satisfying entry into the monster movie collection from Universal Studios. It also has its flaws in editing and pacing but it is definitely an entertaining horror film with good effects and performances and I would recommend it to any fan of classic monster movies. My rating: 7/10

Something To Check Out

I stumbled upon an article in The Los Angeles Times that I thought I'd share with you. Its five highly respected film directors - including Quentin Tarantino of "Inglourious Basterds", James Cameron of "Avatar", Jason Reitman of "Up In The Air", Kathryn Bigelow of "The Hurt Locker", and Lee Daniels of "Precious" - in a roundtable discussion about being a director in today's filmmaking industry. You can find that link here. I encourage you to give it a read. It's not everyday you get five filmmakers of this caliber at one table.

P.S. I decided to throw out this week's edition of "What They're Saying" for the new release "Legion" simply due to lack of time and the fact that no one - fans and critics alike - seems to have liked it. Oh well, they can't all be winners. Rest assured, "What They're Saying" will return next Monday with the new thriller "Edge of Darkness" starring Mel Gibson and Ray Winstone, which hits theaters nationwide this Friday. 'Til then, I'm out. Peace.

Reaction To Golden Globes

The 67th Annual Golden Globe Awards have come and gone and I have to admit that I have mixed feelings about the winners and losers. I was left fairly disappointed by the categories of Best Picture for Drama and Musical or Comedy but I thought the voters of the Hollywood Foreign Press Assocation hit the nail on the proverbial head with the individual performance awards. Below, I have divided the evening up into the good and the bad in an attempt to explain what I liked and disliked about the 2010 Golden Globe Awards. Read on at your own peril.

THE GOOD

Christoph Waltz ("Inglourious Basterds") - Everyone in the Beverly Hilton Hotel - as well as those members of the viewing audience watching from home - knew Christoph Waltz would be going home tonight with the Best Supporting Actor In A Motion Picture Drama tucked nicely under his arm but, nonetheless, it was still nice to see an award go to an actor who truly earned it. His performance as Colonel Hans Landa in "Inglourious Basterds" was one of the best supporting performances in recent memory and he deserves every bit of the recognition he has gotten for his critically-acclaimed role. I look forward to seeing more of Waltz in the future and hope that everyone who has yet to see "Inglourious Basterds" will be sure to check it out if for no other reason but to at least watch Waltz work his magic.


Robert Downey Jr. ("Sherlock Holmes") - One of the hottest actors in Hollywood right now, Robert Downey Jr. completed his return to the spotlight with a much-deserved yet surprising award for Best Actor In A Motion Picture Musical or Comedy for his turn as the famed title character in "Sherlock Holmes." Truly one of the most talented actors of our generation, Downey Jr. is wildly entertaining as literature's most famous detective brought to life and succeeds in almost carrying the film with his wit and undeniable charm. In fact, the only thing more entertaining than his performance as the intrepid sleuth was his acceptance speech, mixing biting sarcasm with an underlying sentiment in a way only Robert Downey Jr. can.


"Up In The Air" - Taking home the award for Best Screenplay, and deservedly so, "Up In The Air" got little of the recognition I felt it had earned, getting shut out in the Best Motion Picture Drama, Best Director, and Best Actor In A Motion Picture Drama categories. Nevertheless, I was glad to see that the screenplay adapted by Jason Reitman and Shelton Turner from the novel by Walter Kirn got the attention it deserved. Lacking the spectacle of visual effects, "Up In The Air" instead relied upon its story and characters to convey its message on human relationships and interactions. "Up In The Air" deserved more but I'll take what I can get.

James Cameron ("Avatar") - Some of you may find yourself scratching your heads as to why I put this under The Good after reading what I have to say about "Avatar" under The Bad but understand this - James Cameron is a master director. There is no denying the inherent talent he possesses in creating stunning visuals on the silver screen and James Cameran more than deserved the award for Best Director. While his ability as a screenwriter may be lacking - which is where most of my criticisms of "Avatar" lie - Cameron is a true visionary who seems to re-define the art of visual filmmaking every time he comes out with a new movie. He poured the last twelve years of his life into bringing "Avatar" to fruition and I believe his efforts were rightfully rewarded by the voters at the Golden Globe Awards.

THE BAD

"The Hangover" - Make no mistake, I loved "The Hangover." But Best Motion Picture Musical or Comedy of 2009? I find that hard to stomach. In my opinion, "(500) Days of Summer" was the much more deserving candidate in this category. "(500) Days of Summer" was a heartbreaking look at the nature of modern relationships and how we grow as people through situations like break-ups and unrequited love. "The Hangover" was laugh-out-loud funny but I'm not so sure it fits the profile of Best Motion Picture Musical or Comedy. Maybe the Golden Globes are attempting to become more mainstream to attract more viewers, I don't know, but I would hope that the Hollywood Foreign Press Assocation wouldn't sacrifice integrity for the sake of viewership.


"Avatar" - This is by far my biggest disappointment in the 67th Annual Golden Globe Awards. "Inglourious Basterds," "Up In The Air," and maybe even "The Hurt Locker" were all more deserving of the award for Best Motion Picture Drama. Outside of its big-name director and groundbreaking visual effects, "Avatar" is a popcorn film and nothing more. Its story, as I've said before, is all too familiar and too many of the characters in the film never grow beyond being two-dimensional. Again, maybe this is the Golden Globes attempting to become mainstream by playing into the widespread box-office success of "Avatar" but I can't help but think this is the second coming of "Titanic." I really hope that the Academy Awards makes up for this egregious oversight and gives the title of Best Picture to the rightful film.

Well, there you have it. My opinion of the good and the bad from the 67th Annual Golden Globes laid out for all to see. Here's hoping that the Academy Awards - with its now-expanded group of ten Best Picture candidates - can deliver the goods when it comes to naming the top film of 2009. I'll probably be back on February 2nd to give you my take on the nominees for the 82nd Annual Academy Awards. Until then, I'm out. Peace.

My First Blog Post

I'd like to commence the creation of my new blog by counting down the top five films I have seen this year. Emphasis on the fact that I have to have seen it in theaters or on DVD for it to be included in my top five (Sorry, "The Hurt Locker").

1) "Inglourious Basterds" - Quentin Tarantino delivers his masterpiece with this epic fairy tale about a cutthroat band of Jewish American soldiers dropped into Nazi Germany to terrorize and systematically destroy Hitler and the Third Reich. Tarantino incorporates his trademark crack dialogue and unflinching violence into the film and balances an ensemble cast of characters who all share equal screen time, making it difficult to really pinpoint a lead character in the film aside from Brad Pitt's Lieutenant Aldo Raine. Christoph Waltz is simply amazing in his role as Colonel Hans Landa of the S.S., a charismatic yet utterly despicable detective who both relishes and despises his title of "The Jew Hunter". Tarantino refuses to allow history to dictate the ending of his tale of revenge and is able to weave an engrossing and highly entertaining story that leaves you wanting more despite its two hour-plus runtime.


2) "Up In The Air" - George Clooney gives the performance of his career as a man who works for an agency hired to facilitate in the downsizing of companies by firing the employees whose bosses are too spineless to do it themselves. He spends most of his everyday life in airports and airplanes, traveling from place to place without ever actually having to form bonds and relationships with actual people while he strives to reach his goal of ten million frequent flier miles. That is, until a naive new co-worker threatens his world with the convenience of technology. "Up In The Air" is a fascinating look at a man who has become a stranger to even his own family and how, despite his emphasis on human interaction and relationships in his motivational speaking engagements, his lifestyle has left him a man who is truly alone - and without a purpose.

3) "Star Trek" - I had never seen a single episode of "Star Trek - The Original Series" but I was admittedly anxious with anticipation for this summer release. And boy did it deliver. Mixing action with humor, director J.J. Abrams and screenwriters Roberto Orci and Alex Kurtzman put forth a compelling and fast-paced new story while paying respects to the original source material that came before it. While sci-fi summer actioners tend to rely a lot on spectacular visual effects, "Star Trek" was able to deliver not only eye-popping visuals but also had the support of a talented young group of actors led by Chris Pine and Zachary Quinto, who stepped into the iconic shoes of James T. Kirk and Spock, respectively. Pine, in particular, displayed a strong presence as the leading man and made the character his own rather than an impersonation of his predecessor William Shatner. I look forward to watching this crew of characters grow and develop in the sequels that will undoubtedly follow.


4) "Zombieland" - No film balanced humor and horror better than "Zombieland" this year and it made for quite the entertaining ride. Woody Harrelson is nothing short of brilliant as the fearless zombie hunter Tallahassee who eventually reveals a human layer behind his armor of invincibility as the film progresses. Director Ruben Fleischer shines in his directorial debut and caps the film with a final amusement park shootout that goes down as one of the best action scenes of the year. I had my doubts about Jesse Eisenberg after "Cursed" but he is quickly coming into his own with "Adventureland" and his role as the overcautious and often cowardly Columbus in "Zombieland." I was particularly fond of his hysterical scene with Amber Heard and found myself rooting for him as he finally "nutted up," as Tallahasse likes to say, in the climax of the film. Not to mention the stroke of genius that was the surprise cameo by Bill Murray - and the hilarity that ensues when he pops up.

5) "Avatar" - James Cameron spent over a decade making this film and it didn't dissappoint. I was fortunate enough to see the film in 3-D and, after my eyes were able to adjust, found myself immersed in the beautiful world of Pandora. The visual effects utilized in the movie were simply breathtaking and I can only hope these groundbreaking advances are only the beginning of a new wave visual imagery in film. While the story was a little too reminiscent of "Pocahontas" and "Dances With Wolves" and the villains were two-dimensional, I become engrossed in the story of the Na'vi nonetheless and was able to get behind paraplegic soldier Jake Sully and his heroic quest to liberate the Na'vi from the oppressive military forces of Earth. "Avatar" is a film that will polarize moviegoers over the issue of whether or not you can sacrifice story for visuals and still create a compelling motion picture. While I do love a great story, the visuals of "Avatar" are a must-see.

HONORABLE MENTION - "Sherlock Holmes," "(500) Days of Summer," "The Hangover," "The Blind Side," "I Love You, Man," "District Nine," & "Public Enemies"