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...acting is similarly excellent. DiCaprio, who continues to grow as an actor under Scorsese??s tutelage, turns in one of his more powerful performances. Though his character may seem to fall into the standard trope of a hardened hero plauged by a traumatic past, DiCaprio effectively portrays Daniels’ spiraling instability as his perception of the world grows more uncertain. Meanwhile, Kingsley and the rest of the hospital staff exude a menacing solidarity that complements the film’s sinister audiovisual elements perfectly...

Author: By Daniel K. Lakhdhir, CRIMSON STAFF WRITER | Title: Shutter Island | 2/23/2010 | See Source »

Attempts at the type of overarching themes that usually elevate Scorsese??s films are disappointingly cursory. Daniels’ violent tendencies lead only to a brief meditation—“God loves violence…it’s what we are,” declares the hospital Warden, musing on humanity—a mere shadow of Jake LaMotta’s trials in “Raging Bull.” Scorsese dabbles with a few bigger ideas, but never latches onto something really worth saying...

Author: By Daniel K. Lakhdhir, CRIMSON STAFF WRITER | Title: Shutter Island | 2/23/2010 | See Source »

...implementation, there has been a steady increase in the number of films produced in Boston. “Boston, as a result of a tax break for films, is kind of crazy. It’s become this huge haven for feature films,” said Horovitz. Martin Scorsese??s “The Departed” and “Shutter Island” are two such films shot in Boston since the tax credit...

Author: By Abigail B. Lind and Rebecca A. Schuetz, CRIMSON STAFF WRITERS | Title: The Scenic Route | 2/23/2010 | See Source »

...representations of beauty,” or straw-manning Ron and Harry, is far easier than starting a real debate about what role religion can play in the arts. So far, the church’s reaction to complex—if provocative—creative products like Martin Scorsese??s “The Last Temptation of Christ” has generally been one of recoil; works of art that don’t aim to provoke have elicited no comment...

Author: By Jessica A. Sequeira | Title: The Art of the Matter | 11/23/2009 | See Source »

...Dream” and “The Fountain” being the prime offenders). The “Match Point”-esque ending is designed to be a carnival of conflicted pathos—Woody Allen’s romantic anxieties shot through with Martin Scorsese??s manly poetics—but Gray’s attempt to be an auteur of enclosed spaces and private struggles is mired by bad scriptwriting filled with well-worn tropes of romantic drama. He should embrace his Hollywood side, and it actually looks like he might: his next project...

Author: By Kyle L. K. Mcauley, CRIMSON STAFF WRITER | Title: Two Lovers | 3/5/2009 | See Source »

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