Shutter Island

Based on the best selling novel by Dennis Lehane, Martin Scorsese's Shutter Island tells a twisted tale of psychological suspense that unfolds on a fortress-like island housing a hospital for the criminally insane.

Set in 1954, Shutter Island kicks off like a good ol' "Golden Age Of Hollywood" styled thriller - with booming, ominous and slightly distorted orchestral arrangements, tilted hats with overcoats and smoothly smoked cigarettes all well represented within the opening two minutes.

We follow U.S. Marshal Teddy Daniels (Scorsese's "New Deniro", Leonardo DiCaprio) and his new partner Chuck Aule (Mark Ruffalo) as they set sail through a fog covered ocean towards Shutter Island in order to investigate the disappearance of a multiple murderess from a locked room within the impenetrable Hospital.

As is often the case, not is all what it seems on an island full of dangerous loons, and when a hurricane begins to bear down on Ashecliffe Hospital the investigation beings to move rapidly.

Yet as the storm escalates, so does the level of suspicion, unsolved mysteries and dark conspiracies.

As any child of the 1990s will tell you, when it comes to creepy tales with a twist there is simply nothing better than a good old R.L. Stine Goosebumps book.

Even the dodgy TV versions (where - dare I say it, a "Recently Released Sex Offender" looking Stine - would introduce the show with the traditional "Hi, I'm R.L. Stine, I write the Goosebumps books" tag) were like a macabre catnip to kids... but you would hardly say they were "Worthy of the Hollywood treatment".

That's not the memo legendary film maker Martin Scorsese recieved it seems, because Shutter Island could quite happily sit on the shelf either side of the embossed book covers of The Horror At Camp Jellyjam or A Night In Terror Tower.

However, that's not to say there isn't much to like here. In fact, the level of intensity Scorsese manages to achieve for the majority of the film is superb.

Scorsese's obvious nods of the hat to the classic detective films of cinema's past (Shutter Island could work just as well, if not better, had it been shown in grainy black and white) adds to the the films other-wordly charm, disarming the audience subconciously as you try and concentrate on the mind-bending antics unfolding in front of you.

The big "Reveal" may not surprise too many (most will latch on about 10 minutes in, but assume "There is no way Martin Scorsese would make it that cliche") and is certain to leave most feeling cheated, but having pondered the film a week on from the screening - perhaps that's the idea : to keep you second guessing, to make you follow the red-herrings, to leave you in awe of the execution of the various elements of the film itself.

DiCaprio does his best (despite the manboy face), while Ruffalo, Ben Kingsley and Jackie Earle Haley are near flawless with their displays of varying levels of charm and downright nuttiness.

Many have suggested that Shutter Island is Scorsese's worst film in years - and to an extent, that is true, this ain't no Oscar winner - but as an ode to old school genre detective films (with a dash of David Lynch) Scorsese has delivered quite a tasty and fun little B-Grade popcorn flick.

Whether that's enough to please the film nerds of the world... well that's another issue.

Even on a bad day, Martin Scorsese could easily wipe the floor with the majority of modern day film makers - in fact, he could quite easily take a few dead-legends to task as well...

But even if that is the case, you still don't really want to see him on a bad day - and sadly, at least for most diehard Scorsese fans - Shutter Island is the cinematic equivalent of locking your keys in the car when it's raining.

- Thymus Macualey.