So what if Shutter Island is a visually stunning work of art? Would you expect anything else from the best director of the past quarter-century? The overhead shots – which give the audience the impression of peering down and spying on the mysterious island – are a captivating technique employed by Martin Scorsese. Some of the long shots which zoom into extreme close-ups rival the visual interest of the dolly zooms in GoodFellas. Irrespective of the rest of the film, the cinematography is spectacular.
The plot befits a blunt felt-tipped marker rather than an elegant quill. I cannot blame the actors who submit admirable performances amidst abominable material. The screenplay is stupid; Scorsese should have saved himself for another project. Usually he selects better material and the suspense mounts as the film progresses. This was sorely lacking in Shutter Island.
This thriller was anything but thrilling because the viewer could see the conclusion coming from a mile away. Rather than the introduction and motivation, followed by a rising action that culminates in a crises then a climax, and finished with a logical denouement, Shutter Island merely offers a slight incline between the beginning and end of the film.
GoodFellas and Raging Bull, which are based on actual historical events, contained more suspense. Even Shine a Light was more surprising, as viewers wondered quietly which song the Rolling Stones would choose to close their set. Afterwards, it was uncertain whether the audience was shouting “Boo” or “Boo-urns” but I was definitely thinking it should have been the former. **