“The Departed”, Martin Scorsese’s 2007 classic is suspenseful, vulgar, and often engrossing. The taglines are haunting and messes with your mind. Its tone is negative—expect tons of swear words and harsh topics. Mafia fans that love Scorsese’s “Goodfellas” (1990) or “The Godfather” series (1972), or have watched “The Sopranos” (1999) on HBO; will become captivated by “The Departed” asking for more intensity from it.

 

The film takes place in South Boston, and the state police is waging war on Irish American organized crime. An undercover cop Billy Costigan (Leonardo DiCaprio) is assigned to permeate the mob syndicate run by gangland chief Frank Costello (Jack Nicholson). Billy earns Costello’s confidence, but there is also Colin Sullivan (Matt Damon), a hardened young criminal who has infiltrated the state police an informer for the syndicate, and is rising to position of power in the Special Investigations Unit. All of these characters become swamped with their double life between working for either the bad or the good side (the good side is the police and the bad side is whoever is teaming up with Costello).

 

As the film progresses, the mob and the police both realize there is a mole in the situation. Billy and Colin put themselves in danger and must figure out whom the blame is on for the corrupt catastrophe. The issue though, Billy and Colin will not admit to their actions of being undercover which has caused the danger among them.

 

In a movie with secrets, it becomes obvious that one of the characters is going to pay for their actions. The problem, though, is that both Billy and Colin were recruited with the expectation to be silent; Colin is a dirty cop doing work for Costello, Billy is a regular cop but is playing his role right: a disguised mobster. Billy is given a cellphone that is blocked from being traced (Costello is organized and knows how to remain a ghost).

 

The most brilliant element with “The Departed” is its film editing: done by Thelma Schoonmaker—who won an Oscar for “The Departed” and did the editing for many of Scorsese’s brilliant films. The editing is what a mafia film should be: many montages, CGI, and narrations that make a scene more enticing.

 

It has the Jack Nicholson personality that viewers love; however it is over the top, it also has many odd moments that Scorsese has Nicholson go over the top with this role—“One Flew over the Cuckoo’s Nest (1975), “The Shining” (1980)—the films where Nicholson goes over his head. Scorsese takes his time with his movies: They start slow, have a taste of bad attitude, and generally the ending of them is a harsh, but either perfect or interesting ending.

 

“The Departed” is a masterpiece. DiCaprio, Nicholson, and Damon are all Oscar-Worthy. The relationship between DiCaprio and Nicholson fits since Nicholson is DiCaprio’s favorite actor. I guess the relationship of these talented men is how the film is good with the chemistry.

 

Four stars.

 

 

 

 

 

 

 

  

Note: I am taking a class all on Martin Scorsese. Scorsese is one of my all time favorite directors. This class is one I am taking to not only have fun, but to learn more about his auteur directing that makes his films spectacle.

 

Mafia films have always caught my attention. Especially Martin Scorsese’s “Goodfellas.” With “Goodfellas,” Warner Brothers became concerned since it contains extreme violence and language. The controversy also caused acknowledgments of being the worst preview response in the history of Warner Brothers. Scorsese even said, “The numbers were so low it was funny.” Scorsese did not make any changes to the movie (thank goodness for that because a crime thriller is not good without violence), he released this masterpiece, and Scorsese’s reputation of being a great filmmaker was increased.

 

This thriller is set in New York (home of the mafia classics). What the experience is like however, is like watching HBO’s “The Sopranos” (I know “Goodfellas” came along before “The Sopranos” but I did not experience “Goodfellas” until 2008, and now I watched it again and enjoyed it as much as I did six years ago). Only thing is that this mafia team is not the brightest. A gangster is involved with his gang and has a plan for a robbery. However, two other crime men kill everyone in a robbery, and the anarchy begins.

 

Ray Liotta is Henry Hill, the main character that takes part in a robbery. Robert DeNiro is James Conway, the man that recruits Hill to do some dirty work. Joe Pesci is Tommy DeVito, the third gangster teamed up with Hill and Conway. One mistake is made and all the blame is on Conway and DeVito; but Hill has a family and is at risk since he is in the mafia business. Not to mention his paranoid wife Karen Hill (played by Lorraine Bracco).

 

What captivated me the most with “Goodfellas” was its screenplay. Scorsese is known for having narrations by the main characters with his movies and that is an art; not just because the film is easier to understand, but it makes the audience feel they are part of the mafia era. The camera angles do a good job with helping us feel involved also. As Karen visits Henry in jail, the camera pans the misery that this crime family is in.

 

The film is two hours, and twenty-six minutes long. There were a few times when the film was a bit disorganized, but the screenplay, the setting, and the acting helps to find the action moments more attention grabbing.

 

Despite the disorganized moments, “Goodfellas” is extraordinary, intense, and involving—a must-see flick by Martin Scorsese.

 

Three-and-a-half stars.

 

 

 

One day in the city of downtown Chicago, I saw Richard Linklater’s most talked about movie “Boyhood.” I was in amazement with how elegant it was. Linklater brings a heartfelt film with actors that have been in the works of this production for the last twelve years. We see a few big name celebrities, but the audience is introduced to new celebrities as well. It stars Ellar Coltrane (as Mason), Lorelei Linklater (as Samantha), Patricia Arquette (as Mom), and Ethan Hawke (as Dad). Even though, we are still months away from nominees of movies, “Boyhood” is already receiving a ton of Oscar buzz.

 

“Boyhood” was filmed in twelve years with the same cast. The film is an innovative adventure through the eyes of a child named Mason. Mason grows up before we know it. His mom and dad have relationship problems and are divorced. Mason’s sister is Samantha. “Boyhood” establishes the life of childhood unlike any other childhood film.

 

“Boyhood” is technologically great with being chronological. The editor Sandra Adair (did editing for a variety of Linklater’s films including “School of Rock,” “Before Sunrise,” “Before Sunset,” “Before Midnight,” “Suburbia,” and more) does a tremendous job with snapshots of adolescence with road trips, family dinners, birthdays, and graduation of high school. The best part of this is that all of the moments in between become transcendent and set to a soundtrack spanning the years from Coldplay’s Yellow to Arcade Fire’s Deep Blue. “Boyhood” is an artsy masterpiece that is both a sentimental time capsule of the recent past and an ode to growing up and parenting.

 

The film is two hours and fifteen minutes, quite long for a childhood drama. When “Boyhood” is experienced though, it does not feel that long at all. However, the challenges that Mason faces were not always understood at first. At like three instances, it was unexplained with why Mason would be angry.

 

Despite the moments of unexplained scenes, “Boyhood” is spectacle, involving, and charming—and one that is a must-see.

 

Four stars.