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DiCaprio, in his most haunting and emotionally complex performance yet, is the vessel Scorsese uses to lead us through the film’s laby­rinth.

Even when it's clear Scorsese has decided to employ fakery and allow it to be obvious, it's done with elegance and beauty.

It's not a great movie so much as it is great moviemaking. It's basically a potboiler genre film, a B-movie with big talent attached.

It's a pleasure to experience Scorsese as a circus master. One just hopes he doesn't continue in this vein.

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.

Shutter Island is a bear hug to cinema while it’s also an occasionally tart valentine to genre.

This gruesome thriller set in a fogbound insane asylum is incomprehensible and fatally flawed, but having said all of that, I will also say this: It never seems anything less than the work of a skillful film buff. Mr. Scorsese may be a smart aleck, but he’s a professional smart aleck.

It’s not bad, but as Scorsese, America’s greatest living filmmaker and film history buff should know, even Hitchcock came up short on occasion.

Shutter Island is slumming: minor but enjoyably nuts.

The ending is powerful..., but Shutter Island is a long slog.