Shutter Island sucked azz.
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Will Munny
Members Posts: 30,199 ✭✭✭✭✭
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Luckily, i have not been drawn to watching it. Nothing from the trailer really enticed me.
Scorsese is hit or miss with me. Hopefully Boardwalk Empire leaves up to the massive hype and great reviews it is getting so far. -
No one is perfect and exempt from duds once in a while...
I agree... didn't really like the film
and its his first film since his long awaited Oscar(?)... -
*shrugs*
I didn't see nothin wrong with it....(cept that random ? ? driver, what the ? was the go with that part???)??
It was ment to be a mind ? and was it a good mind ? ? Yes, yes it was.....
If it was supposed to be frightenin, then it failed at that but I don't think it was ment too be....
6 1/2 outta 10. -
i haven't seen it but it's rated 8.0 on IMDb.. was actually thinking about pickin it up on DVD. what's bad about it?
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IC's Patrick Bateman wrote: »i haven't seen it but it's rated 8.0 on IMDb.. was actually thinking about pickin it up on DVD. what's bad about it?
Well... not to ruin your expectations, but to me it was hella boring -
It was pretty good to me...It's worth a watch IMO..good storyline and I wouldn't want the ending Spoiled if I hadn't seen it becuz thats makes the movie better.
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Well... not to ruin your expectations, but to me it was hella boring
Agree. If they had cut a few scenes it would be nice. It was a bit of a dissapointed because it dragged out towards the end -
I started off good..i was into the story and all...but it felt like it didnt go anywhere..i got bored and turned it off
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Not Scorcese's best of course but it definitely didn't suck, you're going to have to give more reasons than that.
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I thought it a decent movie. I was disappointed that it wasn't scary like the previews made it out to be, but I found it to be interested.
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i thought it was alright
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Oh yeah, I didn't like the ending.
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Shutter Island was real good...Had to see it twice,feel alseep first time in threater but was High....Had to really pay attention to it,and it had a good soundtrack to the movie...? ,I might watch it again today
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I found it entertaining.
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that ? was ? ' stupid. They very last scene was cool. Other than that the movie should've been an hour shorter.
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i thought the movie was dope lol
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biggyboy_karl wrote: »I think it is very well made.
The score was impeccable.
Some great cinematohraphy.
I agree with all of that, but the story was ? ' stupid. -
lies all lies
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i figured out the ending 15 minutes into the movie.
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It's definitely not bad. I just don't think it fits in with everyone's taste. There's no gray area, either you love it or completely dislike it. I wasn't impressed. Too drawn out and just rambled for no reason at all. Plus the ending was not a big shocker. I guessed that about 20 min in.
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biggyboy_karl wrote: »So that pretty much leaves you in the grey area.
Nope. I disliked it, no question. But from technical standpoint it's not a bad movie. Scorsese doesn't do bad movies. Just not my particular cup of tea. -
He did a pretty dope interview with www.mydvdinsider.com talking about the creative process for Shutter Island.
Martin Scorsese....
The low-budget horror movie that scared the hell out of him, and inspired his recent hit Shutter Island, out now on DVD and Blu-ray. Plus the master director opens up about his intimate collaborative process with Leo.
By Craigh Barboza
Listening to Martin Scorsese riff on long forgotten films is often better than watching the movies themselves. The director of Taxi Driver, Raging Bull and Goodfellas has a vivid recollection of virtually every movie he’s ever watched, good or bad. Not only can he reel off entire scenes, he can tell you the camera angles — probably the f-stop too.
As a filmmaker, Scorsese has always turned to older works for inspiration. In his 2006 mob thriller, The Departed, for which he collected his overdue Academy Award, Scorsese referenced classic Warner Bros. gangster films. His most recent feature, Shutter Island, is not only a twisty gothic mystery, but also — with its shadowy mise-en-scene and blunt shocks — a throwback to 1940s B-movie auteur Val Lewton. Scorsese uses his considerable skill to evoke a sense of dread that stays with you long after final credits roll.
Based on Dennis Lehane’s novel set in 1954, Shutter Island tells the story of two U.S. marshals (Leonardo DiCaprio and Mark Ruffalo) called in to investigate a murderess who’s mysteriously disappeared from an institution for the criminally insane. While digging for clues, the boys uncover a disturbing secret just as a hurricane hits, trapping them on the remote and craggy island in Massachusetts Bay. The excellent cast includes Ben Kingsley, Michelle Williams and Max von Sydow.
When it was released in theaters this past February, Shutter Island opened at No. 1, earning $40 million, a personal best for Scorsese.
I read somewhere that you are “only interested in making movies that further you, not only as a filmmaker but as a person,” and I wanted to know how Shutter Island did that.
When I make movies now it’s at least four months shooting and three months preparation, four months preparation, sometimes years, we’ll be preparing for years.
Long story short, that’s nine months to a year and then post-production. So you spend a lot of time making a film and so, as you get older, you have to feel really connected to it. I’ve been very lucky over the years to have felt a strong connection to pretty much every picture I’ve worked on. Some I made to experiment and to enjoy the process of filmmaking, like The Aviator; that had a certain process that I liked and a character I liked a lot.
In this case [Shutter Island], I was taken by the impact of the story and how the story resolves itself. The script is by Laeta Kalogridis from the Dennis Lehane’s novel. There’s something about the power of the story and the empathy I felt for the characters, particularly the character [Teddy Daniels] played by Leo DiCaprio …
When I make a picture like this, it’s really staying with the people, caring about him during the film until the very last moment when you’re working on the color timing of the prints.
Before starting production on a new film, you like to screen movies for the cast and crew to give them a frame of reference. Can you talk about your picks for Shutter Island and what was behind the selection?
I think for tone and visual lyricism, I automatically showed two films to my crew — basically, my closest collaborators, [Director of Photography] Robbie Richardson, [Production Designer] Dante Ferritti and others on the film — Jacques Tourneur’s films The Cat People and I Walked with a Zombie.
I don’t say these films come any way near to masterpieces, and I do mean that. But tone and lighting, atmosphere and the way scenes are perceived … the way action is perceived, they’re special. They’re beautiful films, which have stood the test of time over many, many years. They’re directed by Jacques Tourneur. But of course it was Val Lewton, the producer, who created that whole extraordinary run of small masterpieces.
Another film that Val Lewton produced, directed by Mark Robson, called Isle of the Dead, which was not one of the great ones, but it has a strong atmosphere for me. The sense of people being on an island, not being able to get off the island and the sense of something terrifying or some extraordinary sense of doom that’s about to engulf them. And they fight against that. And it has a very strong feeling. It’s a film I liked very much and still do. It is flawed but it has some extraordinary sense of terror, quiet terror to it.
And it was also a film, I think, I saw when I was 11-years-old or 12-years-old in a theater and I had to walk out, it put me in such a terrifying state of mind, I had to leave.
You actually got up and walked out of the theater?
Oh, yeah. There’s a scene toward the end: it’s just a woman walking, a character walking through the trees at night. But it created such a world in my mind and such fear, just by lighting … light and shadow and sound and lack of sound. And it literally proves that, yes, it’s the film that’s being projected on the screen but … we create the film in our minds. It’s all through suggestion of these images or lack of images, darkness, and the sense of sound or lack of sound and it just, as a kid I just had to leave the theater [cackles]. So I tried again at another theater a few weeks later. I left at the same point.
This is your fourth project with Leo. What did you find out about him on this film that you hadn’t in your previous projects together?
I don’t know if it’s as simple as finding out. I think having been really privileged to work with him since Gangs of New York, it’s been almost 9 years, and I think what’s happening is that we find that we keep being interested in the same subject matter and similar characters and similar tones in the films we want to make.
It isn’t as if we say, Well okay let’s see what we can find out in this one — if you can reach another depth or lightness or heaviness … We just go through the process of trying to put [a project] together and what I find really remarkable is that in our sessions and our talks and our questions, trying to answer the questions, coming up with ideas, there doesn’t seem to be any limit to his creative energy in terms of how he develops as an actor; it’s all open, it’s all fresh, it’s all new. And it always seems to continue to be that way.
So I’ll keep asking and pushing. I’m mining that material that Leo has. And I’m either helping him find it, I don’t know, or he’s finding it and giving it to me, presenting it to me. I’m not sure. But we should be pretty satisfied with the kind of work we’re doing.
It’s hard for me to talk about these things because it’s a very intimate process. I find that as Leo gets older, he’s more open. What I mean by that is that he’s interpreting his experience as he’s growing; interpreting it and expressing it through his work, rather than closing off and becoming one or two or three personas or characters. He’s expressing every aspect. Or he’s trying to find it, goes deeper as he gets older and matures, which is an extraordinary thing to be a part of.
Full interview at http://www.mydvdinsider.com/tag/martin-scorsese/ -
Great flick to me. Scorsese is a genius and a living legend.
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I started putting the ending together about an hour in, just didn't know where to put the pieces to make it make sense.
It was an "interesting" movie, lots of talking, but it was all for a reason if you put it together.
had an ending like that M. Night flick................... -
Great flick just seen it this weekend
