Shutter Island

***1/2 Stars

When Shutter Island was bumped from its perfect release date from October 2nd of last year to February 19th, it created a huge asterisk in my mind of the way present film's are being treated. Yes, from a financial standpoint, Paramount made a successful call, opening to $41 million on opening weekend, but my question is this: why wouldn't this excitingly twisty thriller be just as successful opening at a time where the Oscars begin to boom in people's mind, in a month that's perfect for a horror-themed movies (a la Halloween), and after a great marketing campaign that included Oscar buzz and a fantastic trailer?

I'll probably never know the answer to that question, but I digress. Shutter Island is a good film that becomes very close to greatness in its final act. I'll admit the first two acts hold you rather than grip, but that's only because this is Scorsese, one of the world's greatest filmmakers, re-teaming with his muse of movie stars Leonardo Dicaprio, whose last three combined efforts have been masterpieces. In other words, it's a minor, small critique.

Dicaprio plays Teddy Daniels, a U.S Federal Marshall who is sent to a Massachusetts mental asylum on the secluded Shutter Island. His new partner Chuck Aule (Mark Ruffalo) joins Teddy as they try to unveil the island's dark histories after a patient named Rachel Solando has escaped. The asylum's creator Dr. Cawley (Ben Kingsley) is very proud of his life's work. He describes Rachel's escape, "it's as if she evaporated, straight through the walls." A B-movie line yes, but applied wonderfully under Scorsese's direction. As the mystery ensues, so does the evaporation of Teddy's sanity. We learn that there are secrets on Shutter Island much more complex than one might suggest.

This is a side of Scorsese we haven't seen in decades (Cape Fear), or perhaps ever before. It comes with a few mixed results, including a few draggy moments during Teddy's search, but they are overcome by a sensational final act that not only thrills, but moves. When we discover Teddy's past traumas intertwined with the actions on the island, hang on for some truly great cinema. Dicaprio shines (when does he not?) in a full-out, exposed, hold-nothing-back performance. Unfortunately for him, he has lost the chance for awards recognition. Yea-yea, there's always 2010's Oscar race, but the film's relevance will naturally be incorrectly labeled as untimely.

Shutter Island ends with a line that will stay with you. Pay attention to what it means, who is saying it, and why. It's a haunting statement of demonized psychology only spoken after an intensely terrifying experience. Same goes for the movie.

Valentine's Day

0 Stars

Some of the most racist, sexist, and downright offensive movies to human relationships that people would think of is probably in the league of Borat, Jackass, Team America: World Police, or a Lars Von Trier movie. A suggestion? Add Valentine's Day right to the top of the list.

This movie is nothing more than a gimmick of hallmark programming. After the success of He's Just Not That Into You, I can just imagine the meeting studio executives had when trying to discuss a similar spinoff. In this scenario, Studio Executive #1 will play the bad guy and Studio Executive #2 will play the good guy.

Studio Exec #1: (in regards to He's Just Not That Into You) "Ok, the Valentine's Day release date worked and so did the big cast."

Studio Exec #2: "What about the story?"

Studio Exec #1: "Doesn't matter. We just need a theme. Hmm, let's see a theme for a Valentine's Day weekend release...(pondering)"

Studio Exec #2: "I'm guessing you want to do a Valentine's Day theme."

Studio Exec #1: "That's it! With a big cast! Brilliant! And it will take place in Los Angeles so none of them will have to travel!"

Studio Exec #2: "Ok, what's the story?"

Studio Exec #1: "Did you hear anything I've just said?"

Studio Exec #2: (Sigh)

Think I'm way off on this one? Disagree all you want, but after the $60 million+ opening of Valentine's Day, the next spinoff is now confirmed, called New Year's Eve.

Studio Exec #1: "Ok, so a holiday themed movie that opens on that holiday with the same title as the holiday, works. Any ideas?

Studio Exec #2: Oh screw it, I'm broke. New Year's Eve.

Studio Exec #1: BRILLIANT!

The Woflman

**1/2 Stars

The Wolfman is an acceptable film that is sure to entertain its intended audience. Yes, there are many laughable moments and everything falls apart in the third act, but I can't say I didn't have a horror-filled, bloody-good time. And not to sound like a broken record or anything, but it was rather refreshing. Too many blockbusters these days have me anticipating too much leaving me completely let down, or they're just downright insufferable (I won't point any fingers, but lets just say they are rooted from comic-book spin-offs, big robots, and action figures).

Ugh, I give up. I'm not fooling anybody.

The Wolfman however, delivers exactly what it promises. Some scary moments, plenty of quality kills, and a top-notch cast. For me, that's rather impressive given the films rumors of extensive delays and a hellish period in post-production.

Benicio Del Toro is an inspired choice to play an American named Lawrence Talbot, aka the man who eventually becomes the Wolfman. After Lawrence's brother is murdered by an apparent monster, he is called backed to his home in Victorian-era Great Britain to help discover the meaning behind his brother's death. Waiting for him is his brother's fiancee Gwen (Emily Blunt) and his father Sir John Talbot (Anthony Hopkins). With the town spooked and his family in mourning, Lawrence's search for the truth begins. Little did he know that would include him getting bit by a werewolf making him bedridden for weeks only to be completely healed of all wounds until a full moon hits the sky and he becomes a monster where he hunts human flesh until the next morning when he wakes up covered in blood with no memory of what he did as the town desperately tries to put him to death.

Happy Valentine's Day.

For what it's worth, director Joe Johnston is able to sustain The Wolfman to a very watchable length, keeping it well below two hours. Sometimes it's nice to get it and get out, especially for a premise that doesn't require that much of a set-up. We don't actually see the transformation until about half way through, which is when all logic is thrown out the window and is replaced by bloody action. But you know what? I'm not complaining. The film is visually arresting and on some occasions, quietly moving. However I will admit that the third act is totally lame. In what could be the most ridiculous fight sequence since Kate Hudson and Anne Hathaway in Bride Wars, The Woflman takes the cowardly way out and gives into the mass-audience's demand for third-act (and in this case, third-class) action sequences.

The movie is a toss-up. I for one never came to close to hating it and was quite interested in where the characters were heading. Hugo Weaving adds some clever wit as Inspector Abberline, who comes to town to track down the werewolf. When all is said and done, a better story would have been nice, but sometimes you have to take what you can get. So be it, The Wolfman cometh.