Shutter Island

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Saturated in ambiguity from the very first frame, Martin Scorsese's fourth movie with Leonardo DiCaprio is an exercise in dense plotting, assembled with care and infinite panache by one of the best director's currently wielding a megaphone in anger. A mystery that really delves into the confines of the mind for answers, this may very well require multiple viewings to properly digest.

DiCaprio's compelling performance - complimented wonderfully by Sir Ben Kingsley and the always excellent Mark Ruffalo - is one that is wholly in sync with his director's mindset. From the anxious, layered ambience of the opening few frames, jolted by a moody, invasive score, and pretty much remaining that way for over two hours, your enjoyment of Shutter Island may still depend on whether or not you buy the payoff.

DiCaprio is US Marshall Teddy Daniels, who, along with Ruffalo's recently assigned partner is off to the mysterious Shutter Island - a home for the most dangerous criminally insane - to investigate the disappearance of Rachel Saldano, a patient who killed her children and seems to have now vanished. Teddy is only recently recovering from a tragedy in his own life; his wife died in a mysterious fire and continues to visit him in his dreams. But having spent too much time on the island, he begins to doubt his own sanity as he struggles to find anyone he can trust.

Exploring the troubled human psychosis is hardly new ground for Scorsese, but the material he's given here from Denis Lahane's novel presents that rare occasion when every single character feels like an important part of a particularly tricky puzzle. His casting in that respect is spot on; Ruffalo's obvious affability and Kingsley's ease veering from compassionate academic to someone seemingly harbouring Nazi's, really aides DiCaprio's committed lead performance.

The conclusion is either one you'll kick yourself for not figuring out, or get all smug for seeing it coming. Either way, your reaction to it will depend on if you'll want to revisit this production and see where you went wrong/right, or just write it off as hyperbolic pulp. I was firmly in the former camp, and I have an inkling most receptive film goers will be the same.

A top drawer director working with a top drawer cast, this is hugely entertaining stuff, once again showcasing the combined eclectic talents of the Scorsese/DiCaprio partnership.