Exciting Technology & Direct Connection: CinemaCon 2012 – Feature

CinemaCon, like its namesake Showest before it, has always been about exciting the theater owners with new technology and product meant to get them pumped for their direct connection to the customer. While the textures of this year from “Life Of Pi” to “Skyfall” provided some interesting visions, none was more discussed or contested like the footage that Peter Jackson showed of “The Hobbit”, shot at 48fps, which only a year or so after the acceptance of 3D and the near conversion to full digital, takes the string up one more notch. It is all about what you show.

Paramount Heading into summer, Paramount opened the con by honoring Dwayne Johnson with the “Action Star Of The Decade Award” with studio head Rob Moore calling him “franchise viagra”. Johnson, with his textbook charm along with director John Chu, best known for the”Step Up” films, introduced a dexterous element of scenes from the film which both showed humor and drama. Next, Tom Cruise, in a taped greeting from the set of “Oblivion” [directed by Joe Kosinski] in Baton Rouge, spoke before showing scenes from “Jack Reacher” directed by Christopher McQuarrie whose last helming outing was “Way Of The Gun”. Two scenes adapted from the graphic novel distinctified “tone” which Cruise mentioned in his opening remarks. Rob Moore then turned the stage over to Jeffrey Katzenberg who, after a great year with “Kung Fu Panda 2” and “Puss In Boots”, brought “Madagascar 3” and “The Guardians”. The third entry into the “Madagascar” franchise showed almost 15 minutes of the opening optimizing new animation techniques since the last one in the series with Chris Rock coming on stage saying that it was the best so far adding that some parts were “trippy” which reflected in a circus montage. “The Guardians” based on a children’s book is a completely different animal using “myth” and “belief” to approach its subject matter with an edge and texture. Chris Pine who leads the cast as the voice of “Jack Frost” spoke about the key in the character to finding “the center”. Interestingly, the whole time he was speaking, all of his remarks also applies everything he sees in this character to James Kirk for which he is currently shooting the sequel to “Star Trek” as. The ending of the presentation did not disappoint with Sascha Baron Cohen making his second public appearance as “The Dictator” complete with girls and soldiers in tow and walking through the crowd. After throwing some zingers on stage as is his MO, Cohen as the character angled out Katzenberg as the other “dictator” in the room before announcing (which most thought as a joke) that the film would be screening at 11pm up the Strip and that it was not a threat before he exited with great fanfare as Katzenberg kissed his ring.

Warner Brothers The texture of Warner Brothers relies in being able to follow up the powerhouse of Harry Potter. While the arrival of Tim Burton and Johnny Depp to introduce an extended trailer of “Dark Shadows”, it was Christopher Nolan talking about shooting almost a 1/3 of his “Dark Knight Rises” in IMAX that offered a stemming view of a brooding dark conclusion so much so that Adam Shankman who showed an extended trailer of “Rock Of Ages” including the first bit of Tom Cruise singing threw a “you fucker” line at Nolan because of how unbelievable bad ass it was. Director Jay Roach then talked about the balance of political “broo-haha” in regards to  his new film:”The Campaign” starring Will Ferrell and Zach Galifianakis. However it was moving into fall that offered the most interesting view with the first glimpse of footage from Baz Luhrmann’s “The Great Gatsby” in 3D which Luhrmann explained in a taped message from Australia allows you to see the actors shine without any visual effects. Lastly, Peter Jackson introduced in 3D from New Zealand, the first footage of 48 frames per second from “The Hobbit”. Like seeing “Avatar” for the first time, it takes some getting used to because it is a completely different movie experience in terms of perception with Jackson showing distribs around 10 minutes of footage. One piece in particular showing Gollum’s face very close to camera shows the distinctiveness of this frame rate as do flying shots (like those seen in the original trilogy). Another one very specific to the changing viewpoint of the immersion of the technology is when Gandalf is alone in the catacombs. The depth of the shot makes you think you are actually there though the process does retain an almost HD camera quality in terms of perspective which is rather hard to describe.

Disney Balancing out with the texture of brand specifications from Warner, the Mouse House used the cross structure promotion with Marvel, Pixar and Dreamworks to fuel the fire. Marvel presented a short clip from “The Avengers” intermixing Iron Man, Thor and Captain America with bone-crunching sound followed directly with the announcement of Thor II and Captain America II before Marvel President Kevin Feige showed a small clip leading to the production of Iron Man III which begins production in North Carolina later in the month. Progressing into Dreamworks, the aspect of “People Like Us” starring Chris Pine and Elizabeth Banks (and directed by Alex Kurtzman of “Star Trek” and “Fringe” frame) capitalizes on the studio’s penchant for more novel based forms. “Lincoln” which makes its distribution stateside through Fox, was also mentioned, without texture of a trailer likely to be seen at Fox’s Presentation two days later. Disney Pictures itself started quietly with sleeper quality textures of the stop motion film “Frankenweenie” directed by Tim Burton which does contain odes to Brad Bird’s “Family Dog” episode of “Amazing Stories” and definitely suburban angles of “Edward Scissorhands”. “The Odd Life Of Timothy Green” starring Jennifer Garner and Joel Edgerton seems more reminiscent of Disney fantasy/morality films of the 70s like “Pete’s Dragon” depending on the tone of the eventual picture. “The Wonderful World Of Oz”, which just completed filming just a couple weeks ago, boasts a great pedigree in director Sam Raimi re-teaming with his “Spiderman” villain James Franco as the titular character here. The story details unearthed by the director speak to an interesting betrayal in the story of sorts centering around Mila Kunis’ character which fuels the intentions of what happens in the world. The footage shown dictates a mixture of sets, which producer Joe Roth identified as Detroit, as well as some interestingly created background CG mattes which might or might not be the final textures. Conversely, Jerry Bruckheimer was brought out by current live action film prexy Sean Bailey after a short live stage bit about Kermit wanting to be the Lone Ranger and Miss Piggy wanting to be the Good Witch in Oz. Entertaining for sure. Bruckheimer spoke of them shooting in Arizona with Johnny Depp coming out and speaking as well. Depp made reference to that fact that “I just saw a frog and pig out here. Did anybody else see that?” When asked about Tonto, Depp deferred in a show of modesty saying, kindly, that he wants the theater owners to see it when it is done. With no footage to speak of for the title with the exception of a photo, details are still scarce. John Lasseter, head of Pixar and Walt Disney Animation Studios, came out next to discuss his slate. “Wreck It Ralph” is a non-Pixar film which is interesting in its own right following a bad guy in an 8-bit video game stuck in an arcade. Lasseter spent a good ten minutes setting up the premise and characters before showing the first ten minutes of the film. John C. Reilly, who spoke about trying to improvise during the recordings with sometimes co-star Sarah Silverman, gives a definite heart to the character. A specific “bad guys anonymous” scene represents this with a dexterity and tongue-in-cheek element replete with visual gag cues. Representing beyond and speaking into the Pixar mode, the announcements in terms of new structures (beyond “Monster University”) border on more esoteric which might be undeniably groundbreaking with one being “The Last Dinosaur” with only a silhouette of a brachiosaurus present and another one that can be encapsulated as “Journey Into The Mind” but probably not in the “Fantastic Voyage” way. Finally, as a perspective of a film which has been interestingly placed without any real knowledge of it, Lasseter unspooled nearly a half-hour of “Brave” which follows the exploits of a tomboyish princess in the highlands of Scotland. While interesting echoes of Robin Hood play through especially when the heroes take disguise, what does seem to ring through. which was not prevalent before as much in the other Pixar movies (because this is inherently a human world), is the reactions of the animals and others in a more realistic way which was a hallmark of say “Beauty & The Beast”. It shows how the feature animation side of Disney is being impacted by Lasseter. While not at the full potential of Disney because of responsibility to the shareholders, he is pushing the bar in subtle ways as he can.

Filmmaker Forum: Martin Scorsese & Ang Lee Whenever you get Martin Scorsese in the room, the perspective becomes one of a film class which is interesting when he is speaking to a roomful of theater owners. The impact of “The Hobbit” footage at 48fps had been ringing for about 24 hours and everybody had an opinion on it, both good and bad. This forum was more about 3D with Scorsese’s “Hugo” pushing the barrier last year in terms of serious filmmakers from a dramatic point of view. Ang Lee, mostly known for his more direct non-genre dramas (but Oscar-winning fare) recently immersed himself in 3D for his Christmas release “Life Of Pi” which many said to be “unfilmable” (and for good perspective reason). While it is interesting to see these men discuss the virtues of this medium, it almost feels like they are behind the ball because the technology is moving so fast. Before the discussion began, a sample of 120fps technology was shown. The eye cannot see, for what is being said, beyond 60fps. The footage here was more smooth gliding elements but the separation dictates the depth. This is one thing that did interact in terms of the Scorsese/Lee discussion because lighting becomes even more of an important structure which Lee said drove him mad in certain respects on “Pi”. Scorsese reflects that the I/O, which determines depth in 3D, was something he and his cinematographer Robert Richardson constantly toiled with on “Hugo”. He however said it was one shot when Sascha Baron Cohen is staring down into the camera with his dog in forced perspective that gave him chills because it showed what the technology was capable of doing. Lee, still in the midst of figuring everything out on his movie, spoke on the essence of using water since a lot of his movie takes place in the ocean. The Taiwanese government ended up building him a massive tank but the camera was the first to use a housing to shoot 3D actually underwater. Neither had seen “The Hobbit” footage so they could not comment though Scorsese seemed visibly intrigued at everyone’s reaction. He compared it to a movie he showed to his daughter, her school friends and some of their mothers at his home in New York recently. It was from back in the 30s where the aspect ratio and the color changes during the film (much like “Wizard Of Oz” in some respects). People, he said, spoke the same way about color. It is just something that will eventually, after growth spurts, become a mainstay. 3D took a little longer but eventually is having its day.

Sony While franchises seem to pile on with respect to the Sony brand, the intention seems to reflect that bigger is better quality. While “MIB 3” and “Total Recall” showed extended structures in 2D, it is interesting to perceive their eventual release.The time travel perspective of Men In Black does not quite have its plot direction set in the footage shown but the humor, as always, plays dry and loose with Josh Brolin doing a spot on impression that you would almost think that Tommy Lee Jones is doing the voice over. “Total Recall” oddly enough recreates an almost deja-vu situation because the set ups in terms of plot device to the original are eerily similar with a swig of “The Fifth Element” thrown into the mix. The world is intense and Kate Beckinsale, melding a character that mixes Sharon Stone and Michael Ironside from the original, is bad-ass especially in an extended foot chase sequence that just screamed with adrenalin yet felt wholly original. The intention of what Douglas Quaid is being accused of here is played a little more than conjecture. “That’s My Boy” looks to bring Adam Sandler back to full resolution after the misfire that was “Jack & Jill” but the man experiments with comedy (albeit more low brow) much like Will Ferrell but with more success on an ongoing basis. This is an R-rated romp that has textures of “Little Nicky” but with more curse words and breasts. Sort of like Billy Madison grown up. It looks hilarious because Sandler’s character can go nuts because Andy Sandberg takes on Adam’s usual role with aplomb. It should kill for sure. And as the announcements proved, “Grown Ups 2” is around the corner a summer from now. “The Amazing Spiderman” also seems to be trying to find its footing. The hardest thing in rebooting the franchise is selecting the right tone and space within which to set it. The humor and action shown here is seeking a balance for sure and the scale surely feels much bigger than the last franchise. Andrew Garfield’s approach is more aloof at times though Emma Stone stabilizes the structure. Denis Leary as the police captain who sees Spiderman as a threat will bring some added tension and the more comprehensive view of Lizard Man promises interesting feelings but it all contains relevance in heart depending on the end product. “Resident Evil: Retribution” shows Paul W.S. Anderson pushing the 3D ideals but the mythology is getting extremely deep. However as long as Milla Jovovich can wield a sword and guns with fire blazing behind her (with extended I/O mind you) people will flock. The final perception allowed was a first look at the Bond film “Skyfall” directed by Sam Mendes. The teaser is dark with overcast skies and dark rooms. It seems almost built like a brainwash sequence. The music is rumbling and has tendencies of foreboding much like “Road To Perdition” which gave chills. Granted it gives no perspective of overall story but the tone indicated feels much like “The Dark Knight Rises”: a dark humor that mixes with tragedy.

20th Century Fox With two summer films that hang on the precipice with different elements at stake, the ideas are humming. With “Prometheus” and a bang up viral campaign, director Ridley Scott seems to know what he is doing. The extended trailer showing the landing sequence onto the planet in its full glory has a dexterity and industrial feeling that only Scott can do. “Alien” DNA plays heavily into the trailer from the ship to the Space Jockey. The blood letting definitely paints it well. It looks phenomenal on the big screen. “Abraham Lincoln: Vampire Hunter” I have been interacting with over the past couple months. It is a near idea that is perched between real life and genre which is always a hard sell. Director Timor Bekmambetov has the chops to make it happen and the new footage plays to more the historical basis and less of the acrobatics which may be a conscious decision. “Neighborhood Watch” is another interesting amalgamation with Ben Stiller, Vince Vaughn and Jonah Hill moving into an alien invasion hybrid comedy where they become defenders of their community, swilling beer and taking no bullshit. It is interesting but the line being walked is a tightrope. The final perception to be mentioned on Fox’s upcoming slate is “Life Of Pi”, Ang Lee’s 3D epic to be released at Christmas. Lee showed one sequence and one scene from the film to show what he is trying to do. What comes across for sure is a necessity to use 3D as a storytelling mechanism of immersion. The sequence involves the marooning of the lead character on the ocean and the sinking of the freighter he is traveling on. At first it seems almost simple but the single long takes show a deeper thought at work. Like “Titanic” in a way but more intimate, Lee’s camera follows the actor (picked from a worldwide casting search) underwater trying to save his family who is trapped in the water below deck. The 3D camera picks up the bubbles which gives a much more real feel. Pi, the lead character, ends up on a life raft which a zebra (there are a lot of animals on the ship) jumps onto. The perspective of that and then a Bengal tiger (an integral part of the story) jumping on as well while rain is pouring down, makes on realize that there is a lot of stuff going on technically here. One of the most beautiful shots comes around this point where you can see the sinking ship lingering below Pi in an overhead shot with its lights still on. He disappears below the surface and you get a sense of scale. When 3D starts to be used for this kind of thing (which Cameron embraces as well) is when you will get some killer stuff. The other scene Lee showed is very reminiscent of “Old Man & The Sea”. You can tell at a point it is in a studio stage while Pi and The Tiger fight over their food of flying fish along with tuna that sail into the boat. It has that aspect of Anthony Quinn and the primal fight. The tiger (which is probably CG but it is so seamless as not to be believed) blows Aslan from “Narnia” out of the water with its reality.

CinemaCon, showing new advances, continues to challenge theater owners and, by extension, audiences by trying to keep up with changing technology and rights conversion which, while exciting, always seems to come with a bit of apprehension but ultimately interest.

Shift Perception & Changing Energy: The 2012 Santa Barbara International Film Festival – Feature

The personification of the Santa Barbara International Film Festival is based on the notion of change and how we deal with it in an overall manner. The aspect of certain traditional and concerned forms of art sometimes change but do reflect an overall shift in the perception of where an event is going. This was true of this year’s festival which abandoned certain sidebars for others and downsized in other ways to make sure the energy lives on.

While the tributes were stalwarts in recent years, the interrelation this year was a little less so and less filmmakers stayed to show their wares despite a dexterity of diversity in the programming.

Martin Scorsese, attending to receive the American Riviera Award, waxed poetic on the notion of movie making but his film professor proponent while good can at times be too heady or verbose for the average film goer, though its density is a heaven for cine-files.

The films were the true draw this year with a variety of unsigned material making in the rounds in an attempt to create a new market which is difficult considering the balance of time of the festival between Sundance and Berlinale.

One specific element stood out above the others, much like “Good For Nothing” last year. This film, “Shuffle”, might be considered a basic mind reverse film like “Groundhog Day” or “Memento” but it survives because of its heart and its interrelation to the audience because it is never overwrought. The film follows a young man who keeps reliving certain days of his life, not knowing what came before or against it but seemingly existing in a netherworld. The tone can be sardonic, funny or at times, downright romantic but what makes it work is its heart, specifically in the performance of Paula Rhodes as Grace who makes the entire film shine even though the man who is at crossroads is the actual one reliving it. Staged in B&W with an oversaturation, it bleeds old school with a sense of modern storytelling that works quite well.

Moving in trajectory, “Generation P”, set against the cusp of a newly freed post-Soviet Russia, offers a more drug-fueled adage to the notion of metaphor, hell and greed. While overdone on some of its elements in terms of showing what is real and what is not, there are moments of sheer visual duress which reflects the mind of a fast-moving filmmaker who is still finding his way but has a supreme potential like mixing Tarsem with Timor Bekmambetov.

Other films tried to make an impact with certain elements having pertinence but the lack of the Asian sidebar was distinctly missed, and while the French films were at times effective, others fared well than others.

Up There”, a visual motif against the idea of “Heaven Can Wait” limbo structure, takes a more sardonic, youth-field perspective than say “Defending Your Life” but finds a more moralistic vision of how the dead perceive life. Martin, the lead character, unredeemingly trying to be good above all else to make his way to the white light, understands the different emotions that people strive to leave behind that keep them on the basic plain. While the humor does shine through, the mundane progression at times gives the narrative a bit of a listless quality.

The Monk” starring Vincent Cassel tries a more controversial bent using the notion of unconscious desire against its protagonist as a personification of the devil seen through the eyes of familial undoing. While the basis has a decadent of Shakespeare wrapped in its web ultimately the resolution seems over-textured in motivations of a character that are both irreverent and against better judgment. Cassel likes the themes because they allow for vicious strains of emotions especially where temptation is involved but overall the soapy progression of the film despite some gothic visuals stays the path.

“Heat Wave”, like earlier Quebec entries, uses the idea of parallel story-lines (ala “Run Lola Run”) spoken in reverse to show the different perceptions of life. While the community it portrays allows a “day-in-the-life” perception that ends in tragedy, it does not create an underlying reasoning for its importance but instead uses its characters as pawns in a simply changing chess view of life where most things happen by random chance and not necessarily by reason. Some of the reversals of fortune create a necessity for drama which the final shot does elevate but without a true nature for the crime committed.

“Another Silence” uses a structure of female revenge as a notion of undoing with an intent dramatic backdrop leaving from the urban elements of Quebec into the back roads of Bolivia and the plains of Argentina. While “You’re Next” in Toronto last year upped this for entertainment value, the lasting impression here is a journey towards murder/suicide. The idea in the mind of this woman that her life is over beyond this one act shows determination of emotion to be sure but what is more interesting is her progression in all ides of amorality especially as far as her connections to organized crime, even though she is a cop. There is a deeper story here which is not adequately explored for what is possible. While the resolution revolves anti-climactic, the possibilities that continue for notions of believability seem decidedly wasted.

Whore’s Glory”, as one of the sole documentaries seen, is interesting in its access of socially acceptable behavior in what is considered “the oldest profession”. Using different ideas in Thailand, Bangladesh and Mexico, the idea of humanizing the life of prostitute to a point while dehumanizing as well is an interesting paradox to play depending on what the motivation is and the ability to see it as a job for hire with regulation to perform a desired need. Thailand as seen (or Japan for that matter) through its “Fish Tank” view is relatively civilized though this is probably a more high-functioning brothel in Bangkok. Bangladesh’s whore district is seen as a necessary evil though the hypocritical function of it especially when one of the girls explains why, as Muslims, they can’t perform blow jobs but they can spread their legs, seems an intermittent but foregone conclusion. Mexico is, by far, the worse as shown as its convenience store selling perception on muddy roads but the amount of disease and drug use is much more prevalent. As any degree of service industry, the conditions and overall intent depend on presence of mind combined with a need of desperation.

Alois Nebel”, using certain ideals of “Persepolis” combined with the Israeli film “Waltz With Bashir”, uses the mundaneness of a lost railroad worker and his disdain of new development as a metaphor for the disconnect of a society moving too fast just because it can. The dramatic tension at times used with the computer enhanced black and white landscape which is either inlaid or above actual footage create a tension-filled progression through the unrest of this man’s mind. His eventual undoing because of his idea of what makes a human connection shows the futility of a man in an ever-changing world with a clear, if not somber, vision.

“The Blue Of The Sky” wants to show redemption within the guise of willing criminality to achieve a higher form of enlightenment. Tried and true, the antagonist shown will screw over his partners-in-crime thinking that no one will get hurt in the overall structure. The reality is that if this story was told with a little more slickness and vitality and not within a cinema-verite style everyman tale, there might have been the possibility of an inventive crime thriller especially if the villain (as aluded) was a female Don balancing viciousness with a sense of emotional longing while optimizing a Black Widow sensation. Instead the motif becomes a ruse of lives less taken with a notion of loss preceding an eventual comeuppance.

Behold The Lamb” follows a human interaction with a narrative that makes very little sense beyond its metaphorical basis where a lamb must to brought to slaughter to maintain a sense of honor. The female lead who herself is a lost soul who lives neither in her real world or the possibilities of who she could be becomes more of a reverse “Juno” caught in her own web of idiosyncrasies but unable to set them right while the male lead, prone to seizures and bouts of nobility, simply keeps pushing her through with no sense of complacency of his own. Eventually through a lack of comfortability, the redemption of their need tends to fall apart despite some interesting arguments along the way.

“Here There” attempts to integrate three stories of intermittant loss that don’t quite intersect in necessary ways. The most prevalent happens in the mountains of China where a father is rebelling against the notions of modernity despite the intrusions of his young son who both sees the coming industry but also the purity of his father’s reindeer herding. The two stories addendum of a lost man searching literally for his ID under the nose of a landlord who finds him amusing and a noodle waiter who lacks confidence in the notion of who he is to figure if a girl inside his restaurant is a former love smacks of incomplete storytelling despite the need to allow the audience to offer theire own perceptions. One narrative revolves too basically without the other two strictly flowing in parallel to necesssitate the importance of the other.

“Mighty Fine”, possibly the most conventional of the films at the festival, resolutes in its texture of family dynamics allowing for an adequate reintegration of Chazz Palminteri as an over-stressed rage-filled father who both charms and terrorizes his wife and daughters simply because of his own demons and shortcomings. While definitely a morality tale, it allows offers a balance in its coming of age story with a lack of bias (set within the early part of the 1970s) where the aspects of male-dominated hierarchy resound off the post World War II structure which still reigned prevalent in family dynamics then. Andie McDowell as a quiet Italian wife offers a silent complacency whereas her real-life daughter Rainey Qualley plays her daughter on-screen with a strength up against the formidable (at times) Palminteri whose character takes a simpler approach to fixing life with dire consequences that never quite come to bear.

The Santa Barbara International Film Festival this year reveled more in their dexterity of the films while the tributes took a bit of a lesser trajectory at this year’s festival. While themes of isolation and redemption struck true, the overall cinematic superlatives rested more in the texture of the mundane and not necessarily the dramatic and vibrant with the exception of the overwhelmingly effective “Shuffle”.

Shutter Island – BD Review

“Shutter Island” is more than meets the eye. Besieged by a pushing in release date from last October to this March, this new Scorsese/DiCaprio pairing is more abstract and less straightforward than their earlier collaborations. It has tinges of indulgences from “Age Of Innocence” in addition to its adaptation roots but unlike the other films made of Dennis Lehane’s books like “Mystic River” or “Gone Baby Gone”, this incarnation is more dreamlike. DiCaprio is effective and more in tune along the lines of raw emotionality than he was even in “Revolutionary Road”. However, there is a lack of connection between him and co-star Michelle Williams despite Leo’s best intentions. What most stands out across the board is the use of classical music instead of a normal score. It definitely gives the picture a different feel. The music supervision was done by Robbie Robertson who also wrote the music for “Ladder 49”. What might be coincidental is that in addition to a foghorn sounding overture in the beginning, the music seems to have been pulled from “The Shining” which gives the initial 20 minutes a bit of a Stanley Kubrick feel. However, as the film moves along, there is almost an arch of overplaying that takes one slightly out of the picture. The reveal at the end is, of course, an interesting one and motivates the entire picture making it indelicatable upon repeat viewings.

In the featurette “Into The Lighthouse” author Lehane talks about the book being a response to post-9/11 thoughts which in certain ways had parrallels to McCarthyism. Another interesting inclusion is consultant James Gilligan who talks about his experience at a mental hospital and the differences between old and new psychology methods. These long featurettes actually get in depth on the aspect of why lobotomy was adopted and the perceptions which fuel certain backgrounds in the picture. The other featurette “Behind The Shutters” which also runs about 20 minutes has lengthy background info including Ruffalo, DiCaprio and Scorsese and takes into account the actual reveal (these behind-the-scenes elements have disclaimers about spoilers as well). They knew, perhaps in some ways similar to “Fight Club”) that they would need to usher the audience in many ways through the narrative to understand its complexity, “Shutter Island” is, in many ways, successful but in others a hard sell which is an interesting conundrum though it is interesting seeing Scorsese work this angle. Another very interesting tidbit is that Elias Koteas, who plays a version of the character Latteus, has such a DeNiro type effectation that you almost mistake him for the legend as a young actor. I thought almost initially they did motion capture on DeNiro but that would make no sense. “Shutter Island”, in all ways, is an interesting exercise. Out of 5, I give the BD a 3.

First Look: SHUTTER ISLAND – Paramount

Paramount just provided IR with this still from “Shutter Island” starring Leonardo DiCaprio and Mark Ruffalo (“Zodiac”) and directed by Martin Scorsese (“The Departed”), as part of their 2010 preview. The movie thrills its way onto screens February 19th, 2010.