#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In 1954, up-and-coming U.S. marshal Teddy Daniels is assigned to investigate the disappearance of a patient from Boston’s Shutter Island Ashecliffe Hospital. He’s been pushing for an assignment on the island for personal reasons, but before long he thinks he’s been brought there as part of a twisted plot by hospital doctors whose radical treatments range from unethical to illegal to downright sinister. Teddy’s shrewd investigating skills soon provide a promising lead, but the hospital refuses him access to records he suspects would break the case wide open. As a hurricane cuts off communication with the mainland, more dangerous criminals “escape” in the confusion, and the puzzling, improbable clues multiply, Teddy begins to doubt everything – his memory, his partner, even his own sanity.
Plot: World War II soldier-turned-U.S. Marshal Teddy Daniels investigates the disappearance of a patient from a hospital for the criminally insane, but his efforts are compromised by his troubling visions and also by a mysterious doctor.
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A US federal Marshal is sent on to investigate a missing patient on an isolated asylum called The Shutter Island. What he’s about to uncover will question him and his true identity. Quite exclusive and one of those storyline where you can’t lose your concentration for even a minute. Paradox plot, loved it through and through. This is pretty unusual but loved the soundtracks in the background helping in the foundation of suspense. Definitely another Scorsese masterpiece. A must watch.
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Great a must watch !!
I saw this and I knew what to expect going in to the film as I had already read about half of the book but never got the chance to finish it. But I was surprised at how faithful the film was to the original material.The directing was also masterfully done and pretty cool I saw some cool camera tricks I hadn’t seen since Martin Scorsese directed Bringing Out The Dead, Martin Scorsese did one great job and everyone was top notch especially Ben Kingsley and DiCaprio and I never though I would jump out of fright especially in a Scorsese film but I did. All in all a solid thriller with a good story and some great performances and for me it’s the best film I’ve seen in 2010 so far.
It’s well directed by Scorsese, nicely photographed, the locations and photography are convincing. Very atmospheric. It’s the kind of storm that would send me scurrying to the cellar.
But I’m beginning to wish M. Night Shyamalan had never turned “The Sixth Sense” into a successful movie, in which you can’t tell the living people from the flashbacks from the ghosts from the hallucinations from the dreams.
I was puzzled by the ghosts (or whatever they were) in “The Shining.” Here’s Jack Nicholson, heretofore troubled but sane, strolling into the deserted ballroom of the Overlook Hotel, slapping his hands on the bar, and saying with a big, welcoming grin, “Well, HELLO, Lloyd! How’s business tonight?” And the accommodating bar tender suddenly appears and replies politely. Well, we know Lloyd isn’t really there. Is he one of Nicholson’s hallucinations? After all, Jack calls him by name. But later there are ghosts with masks on that Jack has absolutely nothing to do with. I’ll tell you, it’s a conundrum. The mind boggles.
“Shutter Island” has the same problem in spades. It’s completely bewildering through most of its length. I finally caught up with it in the last five or ten minutes. It’s even more confusing because the staff of the psychiatric hospital in which DeCaprio is a patient are playing roles that coincide with DeCaprio’s delusions. Mark Ruffalo, whom I like, for instance, is in reality DeCaprio’s primary psychiatrist but he’s playing the role of DeCaprio’s partner in the U. S. Marshall Service. The whole hospital is organized around DeCaprio’s psychosis — just to see if going along with his paranoia will somehow cure it.
It’s a nifty premise, but like the notion behind “The Game,” it’s not just improbable. It’s impossible. “The Game” was kind of enjoyable because it had its small comic moments but Scorsese clearly means this story to be tragic. “Which is better,” DeCaprio asks his partner/psychiatrist at the end, “to be a living monster or to die like a hero?” In other words, DeCaprio seems to realize he has a choice. He can accept reality and be the monster — he murdered his wife. Or he can submit to a lobotomy and, somehow, go on being the innocent hero of the U. S. Marshalls that he once was.
That lobotomy business is pretty aptly described, by the way. The operations began in the 1930s and António Egas Moniz, a Portugese neurologist, won the Nobel for using and describing the operation. Mostly it was a last resort and sometimes it worked, though with side effects. It was more or less discontinued after the discovery of anti-psychotic meds in the 1950s. If DeCaprio wants to go on living as a hero, he probably makes the right choice in choosing a lobotomy. It didn’t usually rid the patient of his symptoms. It just calmed him down so he didn’t act on them. DeCaprio will probably still think he’s a federal agent but what remains of his personality will be a bloody stump and he won’t care if they let him off the island or not.
Original Language en
Runtime 2 hr 18 min (138 min)
Genre Mystery, Thriller
Director Martin Scorsese
Writer Laeta Kalogridis, Dennis Lehane
Actors Leonardo DiCaprio, Emily Mortimer, Mark Ruffalo
Country United States
Awards 11 wins & 66 nominations
Production Company N/A
Sound Mix SDDS, Dolby Digital, DTS
Aspect Ratio 2.39 : 1
Camera Arriflex 765, Zeiss 765 Lenses, Arriflex D-21, Panavision Primo Lenses, Panavision Panaflex Millennium, Panavision Primo Lenses, Panavision Panaflex System 65 Studio, Panavision System 65 Lenses
Laboratory DeLuxe, Hollywood (CA), USA, EFILM Digital Laboratories, Hollywood (CA), USA (digital intermediate)
Film Length 3,770 m (Sweden), 3,791 m (Spain), 3,812 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision3 500T 5219), 65 mm (Kodak Vision3 500T 5219), Digital
Cinematographic Process Arri 765 (source format) (some scenes), Digital (source format) (some scenes), Digital Intermediate (2K) (master format), Panavision Super 70 (source format) (some scenes), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383, Vision Premier 2393), D-Cinema