By Delia Paunescu

There are a few directors whose line of work is as extensive as Martin Scorsese’s. With films that go back nearly 50 years, one would think that he’d run out of stories. But just as we were about to give up on Marty (namely after 2004’s The Aviator), he shocks us back into theatres.

Having spent a lifetime telling the stories of New York City, The Departed moves the gang action to Boston where the accents are different but the rules are the same. It doesn’t hurt that two of today’s hottest male actors are behind these accents.

Billy Costigan (Leonardo DiCaprio) and Colin Sullivan (Matt Damon) play opposites in this police and gang drama. Costigan rises to a high-class apartment from the wrong side of the tracks by using his job at the state police to spy for notorious gang leader Frank Costello (Jack Nicholson) while Colin goes from the upper-middle class to jail in an attempt to infiltrate Costello’s crew.

The movie’s title refers to those killed in criminal activity and as the film unfolds, it becomes clear that it is Billy and Colin who are “departed” – their career and life choices incapacitate their freedom. The two are essentially thanks to the consequential enslavement that comes with their chosen line of work.

Overblown, overpowering and, at times, downright annoying, Nicholson’s persona as Costello is also pretty gross. His character is not that of Frank Costello but rather that of Jack Nicholson. After so much time in the twisted business of Hollywood, it is annoyingly obvious that the famous Jack has taken on the characteristic of the locale. And while it is easy to say that infamous deviant grin fits perfectly with the role, there is something inherently irritating in sensing that no acting was involved on his part. The only highlight is the leopard print that speckles Costello’s wardrobe throughout – very en vogue this season.

Speaking of splattering, silly animal prints are the least of your worries in a film streaked in blood and violence. And while Scorsese doesn’t use violence for its mere sake like Tarantino does – it has meaning and moves the audience when it occurs – it is substantial nonetheless.

The camera shots and angles are interesting and oftentimes sweeping. As the plot intensifies, they become tighter with closer cutting, creating even more stress for an audience already anxiety-ridden from the many shocking plot twists. Scorsese makes sure to point out that this is a film of separation and the fact that Dicaprio and Damon are never seen in one shot together only furthers the divide between them.

Violence, tension and Nicholson aside, this movie has an overriding humor that alone, makes it worthwhile. It’s been a long time since a case of mistaken identity has been so damn interesting and a confusing plot so well executed. Even the “supporting” cast is filled with huge names who all do their jobs wonderfully. The movie is so good that the most important of plot realizations are expressed through mere eye contact.

Altogether, The Departed tells us that Scorsese still has what it takes to make great movies in both the caliber and vein of Goodfellas.

GRADE: A-