🎦 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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Another "Sympathy" Oscar
I'm never going to be in a position to win an Oscar, so maybe I just don't understand how goshdarn fab it is to get one. Still, were I Martin Scorsese, I can't imagine not being too ashamed to show my face in public after receiving an Oscar for this claptrap. This isn't a Martin Scorsese film; this is a Saturday Night Live sendup of a Martin Scorsese film. This is the Academy saying, "Well, we didn't give him one for Gangs of New York or for Good Fellas, and he's getting a little long in the tooth, after all. We'd better give him an Oscar for this before he croaks." Is there anyone -- ANYONE??? -- in this film, with the possible exception of DiCaprio, who isn't acting following a major dose of Xanax? (Matt Damon evidently took his Xanax after a lobotomy that was so botched that he could no longer even change his facial expression.) And what's with Mark Wahlberg's HAIR??? Is there any redeeming social value in scene after scene (after scene) of heads exploding in a red cloud? Even Scorsese is bored with depicting violence; he does it because it's expected of him, not because he really gives a damn anymore. You're stupid enough to want it; he's jaded enough to give it to you. A plot line with more holes in it than the hull of The Titanic. Characters about as appealing as Jeffrey Dahmer. You can't care what happens to a single person in this film, and you can't even care that the moral center collapses about an hour in. This film isn't even sickening; it's just dull, dull-witted, and trashy. Scorsese got his Oscar out of sympathy; too bad the film doesn't have any for the viewer.
"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 ****
if THE DEPARTED is the movie fo the year then INFERNAL AFFAIRS is the worlds best movie
i am a huge fan of 'Infernal Affairs' when i heard that Hollywood were remaking it, i was a bit sceptical about it, then i heard it was being directed by Scorses i was excited.

i sat there for the first half hour or so, thinking the original got this part over and done with in about 10 mins. The Departed just didn't have the suspense or the character development of the original. When Sheen died, you just didn't feel anything for him, and the shock factor that the original had was just not there.

the character development in the original was great, as you genuinely felt for the characters went hey died, but in the departed it was like so what if you die. The ending of the departed was a bit of a joke, it was just too much, i think Scorses just thought 'i don't want to make a sequel or a prequel to this movie' - (didn't want to make another goodfellas).

to those who say Scorses deserves best director or that the departed deserve best movie, must be kidding me. Infernal affairs didn't even get nominated for best foreign language movie. When it is certainly a cut above the Hollywood remake. I'm sure they'll be nominated but to win, i don't think so.

however on the plus side, DiCaprio has probably produced his best work since 'Whats eating gilbert grape', and is certainly in with a shout for best actor.

the movie alone is a gd movie, but compared to the original its just another unfulfilled remake So if you have only watched the departed, go and rent out/ watch on film four the original and then re-write your review because I'm sure it will be very different.
Should be called "The Retarded"
American remake of the successful "Internal Affairs" trilogy, about two men seeking out each other's identity; one is a cop that goes undercover as a mobster, the other, a mobster that goes undercover as a cop. Dream-boats Damon and DiCaprio do a good job vanishing into their roles as tough guys, but their charm and ruthlessness still can't mask the crime-thriller clichés; and the ultra-climatic conclusion is just really nothing more than simply over-the-top. The wittiness of Jack Nicholson doesn't impress since he doesn't seem to do much acting, but rather just charismatically act like Jack. The quirky dialogue of Irish-American mobsters comes off as corny and tiring. Martin Sheen and Mark Wahlberg are memorable and well-delivered in the humorous good-cop-bad-cop odd-couple, with the latter earning a Best Supporting Actor nomination. It was the only nomination that was well-deserve, the only nomination that didn't win and the only nomination that should have won. Won Best Picture, Editing and Adapted Screenplay. It should be called "The Retarded".

*½ (out of four)
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.
A film filled with unnecessary and nihilistic violence and profanity
Do you know the story about the king who left his palace naked and everyone in the crowd watching him were commenting on his splendid clothes? This is how I feel after reading reviews from well-known and "respected" critics on Scorcese's "The departed". Because that is what Scorcese's film is-it is naked, devoid of any rhyme or reason, of any reason why things happen, of any values. To me it is just the ranting of an older man, it is Scorcese fantasizing about violence, sex, corruption ; it is Scorsese thinking "wow it is so clever to show all this blood and to have my actors swear all the time, yeah this is art" . Well, I am sorry, but this isn't art. This is about Scorsese repeating himself and indulging in his obsessions and us congratulating him. I am not a conservative person- I just feel like the little boy in the story who cried out that the king was naked; like the little boy who wasn't a hypocrite and just showed things as they were.
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.
Doesn't deserve the ratings
Sigh. After seeing the raving comments here for this film, I have to do a double take.

I watched it and enjoyed it, but it's just an average movie, with big stars and a famous director.

It's OK at best. Worth a watch, but not worth getting to excited about, which is why I think there is a reality distortion around the ratings here.

I think most people will watch this in 10 years and wonder what all the fuss was about. It's probably because this is the first film of this type that has been made successfully in a while, and so subconsciously we must be pretending it's going to make us feel warm inside like True Romance or Goodfellas; probably because most people haven't seen Internal Affairs and so the main plot is new to them; and probably because it bagged an Oscar and everyone figures it's hip to dance at the winning party.

Lets be clear, the original Internal Affairs worked because it left gaps, which helped get a sense that time had passed and you accepted that each of the main characters had gradually worked into their respective positions over many years.

This gave a sense of increasing tension as each of their relatively comfortable positions were made more vulnerable, when essentially, they were activated for the first time by each of their masters for the end game.

With this remake, it fails because they tried to fill those gaps with well known actors and then provided them with excess dialog to warrant their appearance; as a result the situations the protagonists find themselves in, feels forced.

If Costello was really the evil, guilt free gangster Nicholson was trying to portray, then frankly, he'd have had no hesitation taking Costigan outside to dance with a few bullets and put the doubt out of his mind once and for all.

It reminds me of another Scorsese film where an evil, guilt free gangster had a few doubts about his associates and did exactly that.

It felt real in that film, because, well, it was based on the real events and well... thats what evil, guilt free gangsters tend to do.

As for the Oscars, well, it says something I suppose. The Aviator was a better made film, both for Scorsese and DiCarprio who nailed Howard Hughes. They should have bunged it Scorsese's way then, now it just feels arbitrary and robbed Little Miss Sunshine of best picture, of which it most certainly is.
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.

It is just a bad terrible Hollywood copy of IA.
It is just a bad terrible Hollywood copy of IA. I can't believe how Hollywood treat the audience. Lots of scenes, dialogues or even acting was the exact same as the original. Even most of the locations was the exact same as the original. The only different was the Hollywood ending. I am very very very disappointed, we can be more creative, this is very sad !!!!! I don't believe the screen play writer hadn't watched the original Infernal Affairs while writing the Departed screen play. I am sure everybody in the cast and of course the writer and Director had watched the Original for at least 10 times if not 100 times. The actors delivered the same exact emotions and writer and director just Americanized the story. Add some sex scene. Add few sub plots not related to the story and a happy resolution in the ending. Come on guys you can be a little more creative with 90 Million dollars budget. The other sad thing is how films are sold and marketed using actor names and not the story line. Infernal Affairs and Departed are great example of this. The Original Infernal Affairs when screened in US just made $89.6K, because in US there are very few people that watch anything made outside Hollywood. Departed made $289 Million by using the same story, plot, character and even dialogue, they just changed the actors and put the known actors and it made close to $ 300 Million . What can I say Viva Hollywood. Brad Bahmanpour
📹 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. 📀