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Amazon.co.uk Review
Martin Scorsese makes a welcomed return to the mean streets (of Boston, in this case) with The Departed, hailed by many as Scorsese's best film since Casino. Since this crackling crime thriller is essentially a Scorsese-stamped remake of the acclaimed 2002 Hong Kong thriller Infernal Affairs, the film was intensely scrutinized by devoted critics and cinephiles, and while Scorsese's intense filmmaking and all-star cast deserve ample acclaim, The Departed is also worthy of serious re-assessment, especially with regard to what some attentive viewers described as sloppy craftsmanship (!), notably in terms of mismatched shots and jagged continuity. But no matter where you fall on the Scorsese appreciation scale, there's no denying that The Departed is a signature piece of work from one of America's finest directors, designed for maximum impact with a breathtaking series of twists, turns, and violent surprises. It's an intricate cat-and-mouse game, but this time the cat and mouse are both moles: Colin Sullivan (Matt Damon) is an ambitious cop on the rise, planted in the Boston police force by criminal kingpin Frank Costello (Jack Nicholson). Billy Costigan (Leonardo DiCaprio) is a hot-tempered police cadet who's been artificially disgraced and then planted into Costigan's crime operation as a seemingly trustworthy soldier. As the multilayered plot unfolds (courtesy of a scorching adaptation by Kingdom of Heaven screenwriter William Monahan), Costigan and Sullivan conduct a volatile search for each other (they're essentially looking for "themselves") while simultaneously wooing the psychiatrist (Vera Farmiga) assigned to treat their crime-driven anxieties.
Such convenient coincidences might sink a lesser film, but The Departed is so electrifying that you barely notice the plot-holes. And while Nicholson's profane swagger is too much "Jack" and not enough "Costello," he's still a joy to watch, especially in a film that's additionally energised by memorable (and frequently hilarious) supporting roles for Alec Baldwin, Mark Wahlberg, and a host of other big-name performers. The Departed also makes clever and plot-dependent use of mobile phones, to the extent that it couldn't exist without them. Powered by Scorsese's trademark use of well-chosen soundtrack songs (from vintage rock to Puccini's operas), The Departed may not be perfect, but it's one helluva ride for moviegoers, proving popular enough to become the biggest box-office hit of Scorsese's commercially rocky career. --Jeff Shannon
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4 of 4 people found the following review helpful:
3.0 out of 5 stars
Far from Scorsese's finest work but a good gangster film never-the-less...,
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This review is from: The Departed (2006) [DVD] (DVD)
The Departed is a film that proves at 69 years old Jack Nicholson can still play a fantastic villain, at 63 Martin Scorsese can still make a great gangster film and at 36 Matt Damon still has a lot to learn about acting.
Costigan (Leonardo DiCaprio) and Sullivan (Matt Damon) are cops - one is straight and working undercover for the cops, the other is bent and working for a local crime gang - essentially the two characters are alter egos of themselves, both from South Boston and of Irish descent. They are tied together by ageing crimelord Frank Costello (Jack Nicholson), who is looking to paint the city crimson as the sun goes down on his career, and police chief Oliver Queenan (Martin Sheen), looking for that big arrest which will etch his name into the history books. Boston-born screenwriter William Monahan (Kingdom Of Heaven) delivers a gritty and violent script that sits uneasily on the moral conscience, based loosely on a Hong Kong gangster film series known collectively as "Wu jian dao" (Infernal Affairs) but using Boston (Massachusetts) as the backdrop. Of the vast acting talent on display, Nicholson in particular delivers his dialogue with gusto and a sharpness reminiscent of his earlier days, effectively overshadowing his younger colleagues chiefly Damon who, despite spending time with the Massachusetts state troopers in research of his role, fails to impress. This is in no small part due to the script, which for all its complexity fails to develop key characters effectively. Scorsese is also a victim of his own success, by having such high profile actors at his disposal he struggles to keep afloat a raft laden with creative talent and conflicting styles. After five oscar nominations for direction one would hope that eventually his talents would be duly recognised with an actual oscar. The long tracking shots and use of light are typical Scorsese yet the direction bears little ambition, especially when compared to his other cinematic triumphs like Mean Streets, Taxi Driver and The Aviator. Scenes are reminiscent of those in Heat and Serpico and the tone of trust and betrayal harken back to the Goodfella's but there is no denying this film is far from formulaic and does enough to keep the viewer engaged. The sharp script and acting showcase should see the film perform well at the box office but this is far from being Scorsese' finest work!
3 of 3 people found the following review helpful:
1.0 out of 5 stars
Dial a cliché-choose following options poor casting-bad accents,
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This review is from: The Departed (2006) [DVD] (DVD)
I went to see this film at the cinema. I truly disliked it and yet loved the directors other films. The casting didn't work for me.Yep,Ray Winston's Boston accent
has to be the worst I've ever heard. No,sorry check out Vincent Jones in Kill the Irishman yikes! If you want a superior effort regarding the story of Whitey Bulger and Irish organised crime see Brotherhood the TV series. Jason Isaac's is excellent. I decided to check out the Departed on DVD again. It appears worst than when I first saw it. Overly violent,poor script that becomes a joke at the end as the death count rises.Sorry not for me. Now where's the DVD for the charity shop.
3 of 3 people found the following review helpful:
2.0 out of 5 stars
Ultra violent and full of filthy language,
By
This review is from: The Departed (2006) [DVD] (DVD)
The film itself is average. Nothing more. But what I can't understand is how a film that is full of dirty, filthy language in nearly every second sentence can be chosen for an oscar, let alone an average film. And I'm not a moralist or a churchman. That apart Damon was okay, but Leonardo was overacting. In any case a remake should never win an oscar - oscars should be for original works, original screenplays, etc. I'm not in to whoever the director is, whether it is Scorcese or some other guy, I'm just talking about a film that didn't deserve an oscar. Scorcese should have got his in the 1970s, not for this one.
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