Shutter Island Reviews

  • The movie does have a payoff, though. And it works, shiveringly well.

    Owen Gleiberman — Entertainment Weekly

  • Mr. Scorsese's camera sense effectively fills every scene with creepiness, but sustained, gripping suspense seems beyond his grasp.

    A.O. Scott — New York Times

  • Despite its flaws, Shutter Island is worth seeing for the palpably nightmarish and gothic world conceived by Scorsese.

    Claudia Puig — USA Today

  • As Shutter Island proceeds -- mostly as a series of speeches and set pieces -- what is meant to be mysterious and unsettling becomes just plain incomprehensible.

    Ann Hornaday — Washington Post

  • This is a long, heavy film, in which Scorsese's aerobic moviemaking turns mannered and uncharacteristically passive.

    Wesley Morris — Boston Globe

  • Since more attention has gone into filigreeing details into each scene than worrying about the way they'll fit together, the rattletrap engages you moment-to-moment, even as the overall pacing stops and lurches alarmingly.

    Nick Pinkerton — Village Voice

  • For all the trickiness and bluster, Shutter Island is dead inside.

    Joe Neumaier — New York Daily News

  • Not since Raging Bull has Mr. Scorsese so brazenly married brutality to beauty. Not since Kundun has one of his films felt so aspirational.

    John Anderson — Wall Street Journal

  • This is among Scorsese's many gifts: Even when he's not crafting a masterpiece, he reminds you that the movies possess visceral and uncanny powers.

    Chris Vognar — Dallas Morning News

  • What is real? What is delusion? What is montrous? What is decent? Shutter Island may not shatter the heart but these are gnawing achievements for a movie about madness and paranoia.

    Lisa Kennedy — Denver Post

  • "Shutter Island" is not from the Scorsese who stands astride film like a colossus; instead, it's a giddy, gory gift from the Scorsese who sits beside us in the theater, elbowing us at the good bits and taking in the sinister spectacle up on screen.

    James Rocchi — MSN Movies

  • Umberto Eco wrote, "Two cliches make us laugh but a hundred cliches move us, because we sense dimly that the cliches are talking among themselves, celebrating a reunion." Shutter Island is that reunion, and that shrine.

    Anthony Lane — New Yorker

  • The film's primary effect is on the senses. Everything is brought together into a disturbing foreshadow of dreadful secrets.

    Roger Ebert — Chicago Sun-Times

  • Shutter Island is hysterical, in the clinical and cinematic senses, followed by plodding, just when a potboiling contraption cannot afford to be.

    Michael Phillips — Chicago Tribune

  • What Scorsese brings to the table, having created more than his share of rascally villains, is a renewed sense of horror and despair at the power of evil.

    J. R. Jones — Chicago Reader

  • An unapologetically derivative film full of visual nods that appeal mostly to movie geeks.

    Carrie Rickey — Philadelphia Inquirer

  • Its overripe atmospherics put it in that rare class of failures that can only be made by talented people falling on their face while reaching for the moon.

    Colin Covert — Minneapolis Star Tribune

  • A movie that keeps you guessing to the end and then -- miraculously -- makes the guessing pay off.

    Tom Long — Detroit News

  • It may not have any of the technological bells and whistles of the latest 3-D offerings, but no movie in recent memory immerses the audience so deeply in its look and feel as the old-fashioned, two-dimensional Shutter Island.

    Bill Goodykoontz — Arizona Republic

  • How could this many talented people get so utterly, confoundingly messed up? How could a director considered such an icon make so much money and demonstrate so little control?

    Rex Reed — New York Observer

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