As The Departed wears on, it becomes more exciting, more grimly funny and more nihilistic -- and that nihilism has a lasting impact.
The Departed (2006)
Tomatometer
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Reviews Counted:225
Fresh:207
Rotten:18
Average Rating:8.2/10
Consensus: The Departed is a thoroughly engrossing gangster drama with the gritty authenticity and soupy morality that has infused director Martin Scorceses past triumphs. Featuring outstanding work from an excellent cast that includes Jack Nicholson, Leonardo DiCaprio, and Matt Damon, some critics say the film even tops its source material (the Hong Kong thriller Infernal Affairs). The Departedmarks a triumphant return to form for Scorsese; it's his best-reviewed film since GoodFellas.
Rated: R [See Full Rating] for strong brutal violence, pervasive language, some strong sexual content and drug material
Runtime: 2 hrs 31 mins
Genre: Dramas
Theatrical Release:Oct 6, 2006 Wide
Box Office: $132,310,442
Synopsis: Director Martin Scorsese returns to his trademark style with the violent, bruised, and bloody feature THE DEPARTED. Scorsese filched the basic storyline from Wai Keung Lau and Siu Fai Mak's... Director Martin Scorsese returns to his trademark style with the violent, bruised, and bloody feature THE DEPARTED. Scorsese filched the basic storyline from Wai Keung Lau and Siu Fai Mak's masterful 2002 Hong Kong action film, INFERNAL AFFAIRS, which saw a policeman going undercover as a mob member and a mob member infiltrating the police force. Scorsese transfers the action to Boston, positioning Leonardo Di Caprio as undercover cop William Costigan and Matt Damon as undercover mobster Colin Sullivan. While Costigan and Sullivan get into plenty of nail-biting situations that almost reveal their true identities, Scorsese gradually unravels his strong supporting cast, including Jack Nicholson as Sullivan's mob boss, Frank Costello; Ray Winstone as Costello's meat-headed muscle; Mark Wahlberg as a hot-headed police sergeant; and Vera Farmiga as a love interest for both Damon and DiCaprio's characters. THE DEPARTED finds Scorsese generously dipping his toes back into waters that will be warmly familiar to his biggest fans. Rolling Stones songs pepper the soundtrack, recalling the remarkable "Jumpin' Jack Flash" sequence in MEAN STREETS; bullets and blood punctuate every key scene, bringing TAXI DRIVER's explosive finale to mind; and the mobster-themed storyline is a thrilling return to GOODFELLAS territory. Nicholson and Winstone provide acting master-classes every time they appear, neatly complementing the blossoming talents of DiCaprio, Damon, and Wahlberg, while further veteran support comes in small roles for Martin Sheen and Alec Baldwin. Scorsese is often criticized for affording precious little screen time to female characters, and THE DEPARTED won't quell those dissenting voices, although Farmiga's character proves to be more than a match for DiCaprio and Damon's posturings. But Scorsese followers who balked at his diversions into documentary filmmaking (NO DIRECTION HOME) and period epics (THE AVIATOR) will be delighted to find raw male machismo puncturing the screen once again in this frenetic entry into his celebrated oeuvre. [More]
Starring: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Vera Farmiga
Starring: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Vera Farmiga, Martin Sheen, Mark Wahlberg, Ray Winstone, Alec Baldwin
Director: Martin Scorsese
Director: Martin Scorsese
Screenwriter: William Monahan, Siu Fai Mak, Felix Chong
Producer: Jennifer Aniston, Brad Grey, Brad Pitt, Graham King
Composer: Howard Shore
Studio: Warner Bros.
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Reviews for The Departed
Crime stories have become incredibly generic, and though this is not a pit like Miami Vice, some bursts of good staging and imagery only serve to remind us that Scorsese is a streak gambler who can get stuck with the wrong hand.
The Departed is riveting, in-your-face entertainment, with a visceral energy, intelligence, dark wit and several first-rate actors doing their best work ever.
DiCaprio is outstanding, as is the film's first hour. But Scorsese's tale of rats and the rat race gets its neck snapped in traps set by Nicholson's relapse into Just Jack, a flabby finish and a tonally wrong final wink.
Scorsese differentiates it from everything else he's ever done. The guy might as well retire now because I don't see how he's going to top this one.
Despite its jazzy energy and many stunning set pieces, Scorsese's latest film is a regrettably uneven addition to the director's canon, paling in comparison to such classics as Taxi Driver, Raging Bull, and Goodfellas.
Freed from iconic figures and weighty themes, Martin Scorsese, in The Departed, gets to riff and rock. And the audience gets a huge, bloody, profane entertainment in the bargain.
It's one of the better films by one of our better directors, and even though it's technically a remake (of a popular Hong Kong export) it's pure Scorsese in its study of masculine bonds, of loyalty, of betrayal.
The Departed is Scorsese's most entertaining picture in years, dense, violent (more of his screen sadism played for laughs), and satisfying.
If The Departed isn't among his handful of his best pictures, it's still gripping, hot and wicked stuff.
After a pair of flawed Oscar-hunting epics, Martin Scorsese has returned to the gritty, violent mob drama that has always been his strong suit, and the result -- The Departed -- is his best film since 1990's Goodfellas.
A great, resonant, psychologically complex popcorn movie made by a cast and crew of filmmakers at the top of their game. Welcome back, Marty.
You can feel Scorsese's exhilaration in every moment, of The Departed, and the experience is an adrenaline rush, pure and simple.
It’s not great Scorsese, certainly not in the league of Raging Bull or 2004’s The Aviator. But it’ll do for now.
With a dream cast, master director and intriguing story brimming with violence and sex, The Departed really should be better than it is.
For all its bloodletting, The Departed is an intoxicating film. It's a film that'll have your hands over your face with one eye peeking: The violence sickens, but the movie seduces.
As so often before, the body count is high in a Martin Scorsese movie. But where once the bodies pulsated with life in all its vainglorious furor, here they drop like wooden ducks in an artificial pond.
Scorsese hurries through scenes with an impatience that suggests boredom. Spontaneous violence doesn't shock us anymore in Scorsese's environments. Even the director's reliable technicians let him down.
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