The Departed (2006)

Scorsese orchestrates a perfect balance between mirroring mole characters with propulsive storytelling and musical symmetry. The film has Goodfellas pop, sharp black comedy, startling violence, fresh details, and supreme confidence in the crime genre.

Scorsese returns to familiar cops-and-gangsters form with a superior Boston-set story adapted from Infernal Affairs that earned him an Oscar; the complex script and luminous leads, especially Nicholson, plus scene-stealing support make for extremely watchable entertainment.

Martin Scorsese has got his groove back with arguably his best picture since GoodFellas: a big, brash, splatteringly violent mob opera. Jack Nicholson gives an outrageous and outrageously enjoyable performance as the ageing sociopath Frank Costello.

Scorsese returns to inner-city gangsters with an expertly-crafted, fast-paced genre thriller that is unpretentious and bound to find a large mainstream audience; DiCaprio, Damon and especially Nicholson deliver well, and it stands as one of the best US remakes of a foreign film in years.

The film starts with feverish, foul energy, violent passion, and urgent cross-cutting that rocks violently in its first half. It later suffers from narrative bloat, operatic excess, and a tonal shift that diffuses tension, compounded by Nicholson's cartoonish performance and contrived elements.

Scorsese crafts a superbly violent urban thriller that holds its own with 1970s classics like Serpico. The critic singles out Nicholson's unpredictable, leery Costello as the driving force and praises the balance of DiCaprio and Damon.

The Departed is a disappointing big-budget remake that begins promisingly but fails to deliver. The critic complains that the script flattens characters into basic sinner/saint types and produces a film full of twists but devoid of surprise.

The critic calls the film frequently excessive but never dull, a potboiler that is almost impossible to resist thanks to its crackerjack premise and strong cast. He praises the deepened story and standout performances, especially from DiCaprio and Farmiga, while noting Scorsese's occasional over-the-top tendencies.

The critic praises Scorsese's return to contemporary crime fiction with a robust, satisfying gangster story that is his best since Casino. Strong performances, gliding camera work, atmospheric sets, tight editing, and relaxed energy elevate the tale to tragedy while delivering ferocious entertainment.

Scorsese is on his mettle with a mean-mouthed cops-and-robbers thriller that feels like a return to form. The critic singles out the crackling dialogue, black humour, editing and macho performances, especially Nicholson's, for praise while noting some awkward female roles.

The critic finds the film an energetic, fast-paced entertainment that succeeds through its assured direction and editing rather than narrative logic. She singles out the urgent camera work and cutting that maintain momentum amid the story's hall of mirrors.

The critic finds the remake of Infernal Affairs somewhat distended and over-seasoned compared to the original's mathematical tragedy, with a hint of self-pastiche, but praises the strong casting of DiCaprio, Damon and especially Nicholson, along with Scorsese's assured direction and the film's entertaining macho banter and humour.

Scorsese is bordering on his A-game with a balletic and brutal crime film that blends mob and police procedure. The critic praises the urgent camerawork, emotional and physical violence, and DiCaprio's dangerous turn while noting some tangled plot threads.

Scorsese is back with a vengeance after previous overblown mishaps, delivering a blistering, perfectly structured remake. The performances are riveting, the pace electric, and the dialogue tough, with particular praise for Nicholson's cunning psychopath and the leads' intense portrayals.