Shutter Island

Not since the 1991 remake of Cape Fear has Scorsese tackled the psychological thriller genre. Shutter Island is nothing like that, but in a good way. This is new territory that resembles something that Frank Darabont would direct, but there is the trademark Scorsese gratuitous gore and over-the-top violent imagery. Shutter Island is arguably the most well-written book by one of Hollywood's current popular author-turned-screenwriters (Mystic River, Gone Baby Gone). It is a departure from his typical Boston crime drama motif, and delves into a period piece in a secluded mental institute for the criminally insane.

Set in 1954 on a remote island off the Massachusetts coast, Leo DiCaprio is US Marshal Teddy Daniels searching for a missing patient in a mysterious hospital shrouded in secrecy and intrigue. It is as suspenseful as it is mysterious, and evokes nostalgic cinematic emotions of other prison/mental institute films of the past.

Teddy is searching for a lost prisoner, and as the clues come together, there is a confluence of clarity and confusion that leads to the climactic revelation which makes the whole film chilling and memorable. It is truly an original and sinister story for which Lehane deserves kudos.

A great cast was assembled for this film starting with DiCaprio. I am a huge fan of anything he does, and his choice of films keep getting better and better. Ben Kingsley and Max Von Sydow play the doctors at the institute, and Emily Mortimer shines as the missing patient, Rachel Solando. Although the cast is well-placed, the story is the true star. Well-timed musical placement and jumpy scare tactics make this as much Alfred Hitchcock as it is 21st century psycho-drama.

Having read the book a few summers ago, I have been excited about the prospect of the adaptation for some time. After learning of Scorsese and DiCaprio's attachment, even more so. This film did not disappoint at all. Staying true to the important elements of the original story and highlighting every moment that stands out starkly from reading the book, my hat is off to the creative team that transitioned the book to screen almost perfectly. No easy task with the demands of fickle moviegoers.

I have a feeling that this film will be widely successful at the box office, and although there may be some naysayers decrying the ending, I for one was not disappointed in the least. My only qualm is having known the outcome prior to seeing the film. It seemed that the probable ending was tipped a little early. I would like to see audience response of someone who hadn't read the book, but either way it is worth watching.

There are some heavy themes,and some haunting visual imagery, but it is important to maintain the authenticity of the setting and genre. I enjoyed it quite a bit, but I may be biased as I have an affinity for the director, actor, and story. Best movie of 2010 so far. 8/10.

Crazy Heart

Jeff Bridges, in the role that will certainly go down as his greatest in a long line of characters, plays Bad Blake, a washed up, alcoholic country star struggling with the impending twilight of his career.

The role has won critical acclaim and Bridges has been nominated, and won scores of awards. The film is essentially a combination of the Wrestler and Walk the Line, with a dash of Leaving Las Vegas. The surprise for me was how little of a role that alcoholism plays in the film. Bridges does well, but the story lacks the tragedy required of a film with this tone.

The film is good, and there is ample levity to make it less of a sob story, and more of a realistic fictional character study. Maggie Gyllenhall is a good choice as the younger love interest, and Robert Duvall plays the older mentor with his typical natural charm, but actually, it is Collin Farrell who makes the biggest impact in a relatively small role as Tommy Sweet, Blake's protege who tries to help rejuvenate his dwindling career, much to Blake's chagrin. Farrell has a great country singing voice that makes Bridges' weak, pitchy one pale in comparison.

I liked the character played by Bridges, but the singing angle is unbelievable. The songs are catchy and generic and there is a surefire Oscar for "The Weary Kind" but the songs also have that old country simplicity that bring an upbeat quality to the film.

Whether Bridges will win an Oscar depends entirely on the Academy. They tend to reward haggard, hard drinking, hard smoking, graying stubbled actors. I think that he will win his first in five nominations. The film doesn't resonate as anything more than an entertaining flick with some good music, and an unexpected happy ending, but it is worth watching. 7/10.