Shutter Island (4/2/10)
Even the marked fluttering of the projector seemed to enhance the movie experience as DiCaprio drew deep from his seemingly fathomless depths of acting chops, and Scorsese deftly arrayed both familiar riffs (his ubiquitously present steadicam shot circling a stationary subject) and novel hooks (perhaps the longest and most realistically violent tracking shot that I can recall) to weave an ensnaring cinematic web that traces a parallel exploration of clinical psychosis and the mythological journey to the dark underworld of the unconscious. The only subjective critique that I can levy is against the young couple sitting in front of me who thought it was a paternally mature idea to bring their whining and chattering three year old to an archetypal tale about madness directed by a modern master known for creating visceral and horrifying images of violence; an example of delusional ideation that demonstrates both antisocial tendencies and borderline child abuse.
