🎦 The Departed full movie HD download (Martin Scorsese) - Crime, Thriller, Mystery. 🎬
The Departed
USA, Hong Kong
Crime, Thriller, Mystery
IMDB rating:
Martin Scorsese
Leonardo DiCaprio as Billy Costigan
Matt Damon as Colin Sullivan
Jack Nicholson as Frank Costello
Mark Wahlberg as Staff Sgt. Dignam
Martin Sheen as Cpt. Queenan
Ray Winstone as Mr. French
Vera Farmiga as Madolyn
Alec Baldwin as Cpt. Ellerby
Kevin Corrigan as Cousin Sean
James Badge Dale as Barrigan
David O'Hara as Fitzy
Mark Rolston as Delahunt
Robert Wahlberg as Lazio - FBI
Storyline: In South Boston, the state police force is waging war on Irish-American organized crime. Young undercover cop Billy Costigan is assigned to infiltrate the mob syndicate run by gangland chief Frank Costello. While Billy quickly gains Costello's confidence, Colin Sullivan, a hardened young criminal who has infiltrated the state police as an informer for the syndicate, is rising to a position of power in the Special Investigation Unit. Each man becomes deeply consumed by his double life, gathering information about the plans and counter-plans of the operations he has penetrated. But when it becomes clear to both the mob and the police that there's a mole in their midst, Billy and Colin are suddenly in danger of being caught and exposed to the enemy-and each must race to uncover the identity of the other man in time to save himself. But is either willing to turn on the friends and comrades they've made during their long stints undercover?
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Awful... Really awful.
Ever since I have seen Infernal Affairs (IA), I said to myself that Hollywood would not pass up on a story like this. And true enough, I heard Brad Pitt bought the rights to the show and that he and Tom Cruise are slated to act in it. When I heard that the whole ensemble changed, I still was looking forward to the film. IA, with a much smaller budget, looks more expensive than The Departed (TD).

Character development -IA, is all about heart. It is about how the mole in the police, Ming, is torn between his identity as a mole, and his conscience, and the mole in the mafia/gangland, Yan, is torn between doing right for the police and his own dilemma about his identity. Ming is not bad, nor is Yan good. TD, like all other Hollywood cop movies, is about black and white. Costigan is wholesomely good, and Sullivan is utterly bad. Their characters are so one-dimensional, it's almost like the screenwriter doesn't trust his audience to be intelligent enough to know that good and evil are degrees of grey.

Timeframe - The time frame is just ridiculous in TD. Are we expected to believe that in the short span of 4 months, Costigan is able to infiltrate the mafia and become Costello's left hand man, given that everyone (so 'cleverly' explained by Queenan) knows that he was a cop and that Costello doesn't trust people easily? Are we also to believe that Sullivan can rise through the ranks of the police force so fast, considering that (also 'cleverly' explained by Ellerby) they don't trust people with perfect records? In IA, it is a convincing many years. Both characters are allowed to grow into their environment enough to be torn. TD just throws it in our face.

Acting - How can people say that the acting is superb? Matt Damon doesn't emote at all. Leo Dicarprio is so whiny, if he isn't whining to Queenan, he is whining to the shrink, or Costello and Mr. French. Martin Sheen is like a vase, so weak and wimpy, he doesn't have the air befitting of a Captain. Mark Wahlberg's character, sarcastic as hell, for what? It's a wonder that he is even there, he has no role to play at all. An omission of his character wouldn't have made the movie any less. The shrink sleeps with both Costigan and Sullivan, and we are expected to feel sorry for her? And Jack Nicholson, so painful to watch. Even the extras are so miscast-ed. The Mainland Chinese characters are so obviously 3rd generation Cantonese speakers, with the American accents, I am not a native Cantonese speaker and even I know it's all wrong.

Screenplay - This has to be one of the worst screenplays ever.

a. Costello, if he is a big time gangland boss, and that he is dealing with international crime lords, why is he and his right hand man still going round the hood to collect protection money? The writers cannot decide if he is a big-time crime lord or a smalltime mafia boss.

b. the time-line.

c. Costigan sends the tape to Madolyn, gets Sullivan to meet him at the building Queenan died, and expects to do what? It is just a cheap shot at trying to mirror IA's intelligent rooftop scene.

d. The fact that the cast says F*** every other second makes the movie cheap and crude instead of realistic.

e. the subplots are so unnecessary and so poorly intertwined. The double crossing of the mainland Chinese, the FBI informer subplot, the letter that was never heard of again, the love triangle between moles & shrink, the time in cadet school. All these subplots should be omitted, then maybe the director can concentrate on the real story.

f. What's up with the ending? First Costigan is shot (Which is a ripped off from the original), and then everyone else gets shot in the head except Sullivan. Is there a need for all that gore? Or is it just cheap thrill? And then Dignam kills Sullivan. Does Dignam have a great enough agenda to do what he did?

g. Did I mention that a lot of scenes of the movie are ripped off from the original? Even the dialog of some of the scenes is directly translated from the original. I read that the writer claims that he didn't see the original. Is he trying to claim the great parts of the movies as his own? Isn't that plagiarism? Which brings me to

Production value - Scorsese bombed, big time. He has ran out of tricks, the movie started out good, but the ending seemed so rushed, like he has ran out of time, or interest. I love GoodFellas, and his style and techniques at that time seem fresh and ingenious. But the second time he used the pinhole effect in TD, I realize that Scorsese has ran out of ideas. There are even scenes that he took from the original shot by shot, making it seem like he cannot make his own out of the material.

Over all I am very MAD. MAD at the people who say this movie is brilliant. It is brilliant only because the original is brilliant and they had taken almost every element of it. I am MAD because of the disregard of respect on the part of Scorsese's team, not giving the credits when credits are due. Is he going to get an academy award for something that is not his? Something that he so blatantly took from someone else and did not even bother to credit? That would say a lot about Hollywood and their disregard for anyone else. I am MAD at the way the movie ended and I am just disappointed that the audiences are treated like idiots and they don't know it.
if Marty was trying to parody himself he's a genius. i don't think he was trying.
so lame. you didn't believe any motives behind any character. Nicholson & marky mark make you laugh i hope on purpose. Matt Damon doesn't get hit in the head nearly enough. there's a funny nod to jack's joker. do not expect goodfellas. don't even expect a chainsaw sequel/prequel. think more like scary movie 2, but without trying.

do Southey's ever get tired of being made fun of in movies? between this and mystic river, i'd be real upset. i get it, Irish guys love their moms and miss their dads. the only thing that could have made this worse is if ed burns was in it. the best performance was the lady with the nose plugs.
can you spell "deus ex machina"?
Although I loathe a lot of what Hollywood does in films these days, I am willing to put up with much of it as long as the film pays off in the end. While there is much to admire in The Departed, the ending is one of the worst I have ever seen, below the standards even of Training Day and John Q. I was quite mesmerized up to the point where Costigan discovers the truth about Sullivan. In spite of Scorsese's compulsion/obsession with every filthy aspect of human nature, I was very much enjoying the performances and the story. Then, it seems he or the screenwriter had a brainfart. In light of that fact, all of the excess of the film caused it to implode. In the ensuing vacuum, I could find no redeeming quality of the film at all. What does the story tell us? It wasn't true to itself at all. No one gained a thing. No redemption. No resolution.

I am not an expert on films in any way. But it seems to me that when a story is developed on the strength of a collection of main characters, the story had better wind up focusing on the relationship between them. One by one, the supporting cast is eliminated. Then one of the three main characters is killed off. That leaves the two lead roles, and as far as I'm concerned, at this point it has to come down to the two of them. Whether it's a showdown or a meltdown, this film had to close with Costigan and Sullivan forcing the outcome. Instead, they are both eliminated with as little drama as if they were innocent bystanders. The fact that these events left as many questions as answers tells me that the director really didn't know what he wanted the story to say.

The acting was superb, the story captivating, the suspense almost unbearable - what more could you want from a good movie? Well, as far as I'm concerned, without a good ending, all of the above amounts to little more than the hype that usually precedes a film, but in this case makes up the bulk of the film. Enough with the blood and guts, Mr. Scorsese, enough with the profanity and vulgarity - lets see if you can make a film that succeeds on its own merits.

And in the meanwhile, I would appreciate it if you could convince the studio to refund my money.
"Honesty is not synonymous with truth..."
Cocky Boston police detective with the Special Investigations Unit--who, as a young man, was mentored by a drug kingpin, an overgrown thug who is still making everyone shake in the old neighborhood--is still in-cahoots with this mob boss and attempts to ferret out the police cadet whose job it was to infiltrate the bad guys' circle and get hired on. In turn, the cadet--who is frustrated by his lack of identity--must find the spy on the police force who is playing both sides. Big Oscar winner from director Martin Scorsese is an Americanization of Hong Kong's "Mou gaan dou" from 2002. It is also very typical of this particular filmmaker: flashy, fast-moving, repugnant and yet reveling in its nastiness--to the point where one nearly feels the rampant ugliness and constant homophobia gets the director's seal of approval. As the undercover cop, Leonardo DiCaprio does some of his finest work yet; although he can't do much with the man-woman stuff involving a perplexing Public Service psychiatrist, DiCaprio is convincingly rough in a very difficult role to pull off. As the bad detective, Matt Damon is also first-rate, bravely playing a real pr*ck while giving the picture a smug swagger that suits the narrative well (I would have preferred more about this character's loss of morals however, which happens entirely off-camera). As the drug-lord, Jack Nicholson performs without vanity and slithers through the movie like a smiling cobra; his unpredictability as an actor is tailor-made for this role, and Scorsese is careful not to overload the screen with Jack (we get just enough of him, although one sequence in a porno theater goes over-the-top). "The Departed" isn't particularly shrewd, and it is not Scorsese's best work, but the linear structure of the complicated plot is nearly free of static and has many gripping scenes. **1/2 from ****
What a mess
Oh dear, it's Scorsese does Tarantino with some Goodfellas thrown into the mix (even down to using the Human Beanz - Nobody But Me for a fight in a shop). The first third of the film is excellent, despite the constant sound of the Rolling Stones - Gimme Shelter every five minutes, but then it goes downhill fast. The basic premise of a cop infiltrating the Irish mob and a mobster infiltrating the cops is good, but soon so many other things are thrown into the plot it becomes a farce. Why make Costello am FBI informer? Pointless, other than maybe to give Matt Damon a reason to kill him, although it would have been a thousand times more interesting if Damon's reason was Nicholson's dismissive treatment of him since a teenager. Why did Matt Damon's character have so much power to do as he liked in the force after only joining a few months back, able even to call a surveillance of Sheen police chief? Stupid. How come Damon didn't figure out immediately that Dicaprio's character used his phone at the meet with the Chinese? He knew the whole of Nicholson's crew apart from Costigan, but Scorsese just needed to drag the film out for another hour. Why was Baldwin's character camping it up like a pantomime dame all over the screen? The acting from Baldwin was so bad it made me think he was play acting for Damon's character and actually new he was a mole, but he didn't, Baldwin just can't act. The mess of shootings at the ending wasn't a twist either it was very dull 'ho hum' and 'so what' and i had lost interest half an hour earlier when Nicholson exited the film. After the first hour this film is silly, contrived and with no clever plot twists at all but just pointless adding of layer on layer of meaningless guff. If someone tells you this is an intricate and well plotted film, don't believe them, point them in the direction of The Usual Suspects.
This was just not a good movie, it should be free, not for purchase on demand. Screenplay was written terribly, and the directing or editing was bad. It was sort of a bad joke. Not worth repeating.

There were time warp issues where things didn't fall into play correctly. It seems like they got finished filming and decided there were too many big names to just scrap it and pretend it didn't happen.

The most disappointing was Jack Nicholson and Martin Scorsese were involved and they couldn't even save it. It might have been Jacks' most uninspired acting job of his career, but I think the screenplay was so poorly written as though to dumb it down as much as possible so that the audience would realize how unsophisticated the Boston Irish really are.

DeCaprio and Damon were equally bad and Alex Baldwin and Marky Mark were just behind them. The characters were bad, and the attempt to have us understand them was missing except for the vulgar language. I swear, Scorsese must have a deep hatred of Boston and the Irish to portray them so badly.

What was good? the shootings and violence were pretty good.

I think the script caused this all, it was so bad the top actors and directors couldn't save it. I'm really surprised it made it out. I'm more surprised it is rated so highly online, but now i understand why it took me almost ten years to see it.
A masterpiece right up Scorsese's alley
Director Martin Scorsese's "The Departed", a gangster flick based from the Hong Kong thriller "Internal Affairs", goes without saying as perhaps his best work since "Goodfellas." Working on a genre that's right up his territory, Scorsese is back on top of his game and recreates a new dimension to the genre. This crime thriller treads the same theme as much of its director's previous films does. It's about two young men, the people around them, and the complications brought about by their characters' ambiguity.

Set in Boston, the Massachusetts State Police sends young cop Billy Costigan (Leonardo DiCaprio) to go undercover and infiltrate an Irish mob syndicate where he quickly earns the trust of leader Frank Costello (Jack Nicholson). Meanwhile, Costello's informant Collin Sullivan (Matt Damon) works for the police department's Special Investigation Unit. Soon, stakes are raised when both the police and the mob realize there's a traitor among them, and that both Billy and Collin are both in danger of losing their cover and even their lives.

Nicholson, yet again playing another villain, owns every scene he's in with his portrayal of Costello, providing a paradoxical attraction to his menacing character. DiCaprio, increasingly maturing as an actor since becoming Scorsese's "muse", fits right in as the streetwise cop, while Damon brings his usual authoritatively calm demeanor to the part. They are complemented by the ensemble performances of Martin Sheen, Alec Baldwin, Mark Wahlberg and Vera Farmiga.

Scriptwriter William Monahan ("Kingdom of Heaven") retains much of the structure of "Internal Affairs" but adds depth to its characters and an acerbic quality to its witty dialog. The cinematography by Michael Ballhaus is brooding and morbid, capturing the character of its Boston setting while Howard Shore's score is as good as a soundtrack can be.

At its core, "The Departed" is a well-crafted, well-written, and well-acted film noir. In an age where style usually triumphs over the narrative quality, "The Departed" is one of the best films I have seen so far in recent memory.
The Departed--and not a minute too soon.
This is a terrible movie. It's two and a half hours of obscenities instead of script, violence instead of acting and Jack Nicholson playing who else but Jack Nicholson.

I'm sure a lot of people will say all this was necessary to give the grittiness to the movie. It isn't; think of the great gangster movies of the thirties, forties and fifties. Bogart and the lot never said any more than, "darn" and most violence was implied rather than cataloged.

It's no wonder society is running out of control when this type of sick movie wins an Oscar.

When I heard Scorsese made this movie, i was very excited. Because one thing that i know, Departed will be an adaptation of my favorite Hongkong movie "Infernal Affairs" or "Wu Jian Dao". And when I read a magazine, the director denied and said it's only inspired by. So my expectation flew away. But all my dream has gone when I saw "Departed". It's all the same. Sorry, spoiler, how the boss gang died, how the captain died, how the undercover died, all the same. In short, all the important scene, are all the same. Maybe, they have different ending but if you have seen "Wu Jian Dao", "The Departed" just only follower. No need a big name like Scorsese just to remake an Asian movie. One thing, "The Departed" has lost the thrill that "Wu Jian Dao" have.
A Truculent Pancake
What a shame. Scorcese, the old one, lived in a world that worked differently than the world of most folks. His world has no God, no laws, no fate, no environment. His world is a world of characters who exude the world. If there are apparent laws, it is because of the force of people creating the space they project into.

He works in this way because its his heritage, an Italian legacy both in culture and film. And because it works. A filmmaker's job is to define a world in a film, ideally in the first few moments of a film. There are all sorts of ways to do this and the way we digest what we see has a lot to do with how it is served in this way.

One way, the way the old Scorcese used, was to invest wholly in bodies. Focus the camera completely on people, a few very, very strong people, and grow the world and a whole world system — usually based on simple ethics — around it. It means you have the latitude to develop some loud, apparently full characters, but it also carries disadvantages: we never can fold his movies into our lives. We can never overlap our world into his, because his doesn't exist.

He knows these limits. He's spoken of them privately, and in his last two films you could see him trying to outgrow the limits of the old Scorcese. With "Gangs" he reached far into space, defining places, a city, underground havens, mobs, the flow of rumors through society. He reached to groups. His camera flew, not as expertly as DePalma's but wildly compared to old filmmaker's which was tethered to single bodies. "Gangs" overreached and ran out of money, time and the patience of his patrons, so it was wrapped up with some explosive characters.

"Aviator" showed us a new man. I hailed him as the best new filmmaker of that year. He drifted into the world, away from characters. He designated a watcher in Blanchett, something he has never done before, and he let he bring her tools of folded narrative to bear. It was film worth watching, his first one in my opinion.

And now we have the old fellow backsliding into his easy manner, his cheat. His way of delivering apparent power with no power. Yes, it is well put together. Yes, it has serious actors doing their bit without worrying about how it fits in the symphony. There is no grand design, just speechifying. Yes, the use of music is perhaps the most competent you will ever find.

But it is empty. Again. We lost a filmmaker this year.

Ted's Evaluation -- 2 of 3: Has some interesting elements.
📹 The Departed full movie HD download 2006 - Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, Anthony Anderson, Alec Baldwin, Kevin Corrigan, James Badge Dale, David O'Hara, Mark Rolston, Robert Wahlberg, Kristen Dalton - USA, Hong Kong. 📀