. . . . Between the psychopaths, the psychiatrists and the skeletons in Teddy's closet, the line between reality and delusion, sanity and insanity, soon begins to blur. It is here that the film really begins playing around with the psyche, both Teddy's and ours, though the agenda is laid out from director of photography Robert Richardson's first images of Teddy reeling from seasickness in the claustrophobic latrine of the prison ferry on the ride over -- tortured eyes looking back at us from the mirror as he splashes water onto his face.
. . . .
Whether it's a rushed dénouement or a tendency to overindulge in delusions, the flaws are never enough to do permanent damage to the film. Ultimately, Scorsese has given us a new noir classic, though watching Di- Caprio's Teddy twist in the wind while his mind unravels would be satisfying enough.
