我帮你找了几段靠谱一点的，希望对你有帮助~~ "Shutter Island," which opens Friday, is the fourth film Leonardo DiCaprio and Martin Scorsese have made together, and the most unexpected. It's not a biopic ("The Aviator") or a modern gangster movie ("The Departed") or a historical gangster movie ("Gangs of New York"). It securely occupies that most American of genres, the film noir -- the dark film, the film that takes place in the shadows of human nature.
DiCaprio plays Teddy Daniels, a United States marshal. The time is 1954, toward the end of the original film noir era. His assignment: Help find a woman killer who has disappeared from a prison for the criminally insane on a remote and craggy island. It's a Locked Room mystery, because there seems to be no way to leave the island alive.
Daniels and his partner Chuck (Mark Ruffalo) arrive seen with those two invaluable props of the film noir hero, fedora hats and cigarettes. They talk like film noir heroes -- tough and aggressive. On Shutter Island they encounter a man, however, who seems to come more from the horror genre than film noir. This is Dr. Cawley (Ben Kingsley), the precise and remote man in charge. Reading the original novel by Dennis Lehane, he reminded Scorsese of the hero, if that is the word, of the silent film "The Cabinet of Dr. Caligari."
It was a really fantastic movie, if you want something different from the new movies we see these days then Shutter Island is the one, Scorsese re-invents the Genre..the kind of movie that will have you sitting in your seat for 10 minutes after the movie's finished, pondering and trying to remember certain moments and scenes in the movie in an attempt to get yourself back from the island.Scorsese will successfully mess with your brain in a good way and will have you going crazy in your hopeless predictions towards the end.and Leonardo DiCaprio proves again that he's one of the Best actors in Hollywood these days, pure awesome and brilliant performance, as well as Mark Ruffalo and Sir Ben Kingsley.. A great concept, spoiled by a terrible script of genre stereotypes and bogged-down scenes of expositional dialogue, yet redeemed by solid acting and production design.Scorsese and DiCaprio didn't have enough material or insight to make a psychological portrait of a post-war man and his anxiety/paranoia upon returning home. Instead they resorted to making a well-crafted B-movie that safely embraces but doesn't reenvision the many cliches that plague the movie.The obviously foreboding music at the opening of the film was the first hint that Scorsese would be retreating into a Hitchcock homage. The Nazi death camp flashback was the most grossly unoriginal way I could imagine expressing the main character's troubled past. Scorsese will always be the master of the expressionist camera and his dream sequences drifted into surreal David Lynch meets Stanley Kubrick territory that was also bogged down by more dialogue and a scarred Robert DeNiro lookalike.The climax brings more exposition and another flashback, this time concluding with Scorsese's single worse shot of his career: DiCaprio in despair looking up as he is filmed directly from above-- the notorious "Why God, Why" shot!I did enjoy watching it, though if any part still lingers with me, it's probably DiCaprio's performance. Despite having little to work with and a role that I wouldn't have dared cast him in, he manages to ground the film emotionally and leave the viewer rightfully unsettled. He plays the role straight. Ben Kingsley on the other hand, knows that his character is bordering on Agatha Christie mystery dinner theater and he balances playful color and quiet subtlety.Such inconsistencies on how to treat the material prevented the film from reaching greatness: it wasn't sure whether to self-consciously roll around in cinematic history or transcend genre and be an honest character study.
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