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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 their double lives, gathering information about the plans and counter-plans of the operations they have penetrated. But when it becomes clear to both the mob and the police both discover 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 themselves. But is either willing to turn on their friends and comrades they've made during their long stints undercover? Written by
There are two phone numbers used in the film. The first is Billy's phone number is 617-869-1469 (It appears when Colin Sullivan answers the phone). This is actually a real Boston number used by Sprint Spectrum. If someone calls it, you will get a generic voice mail box which is full. The other number is 311-555-2368, which was actually a phone number used in telephone-company publications. See more »
When Billy shoots the drug addict in the knee, he is using a Walther PPK. While the PPK is double action, the hammer should remain back after he shoots him. See more »
I don't want to be a product of my environment. I want my environment to be a product of me. Years ago we had the church. That was only a way of saying - we had each other. The Knights of Columbus were real head-breakers; true guineas. They took over their piece of the city. Twenty years after an Irishman couldn't get a fucking job, we had the presidency. May he rest in peace. That's what the niggers don't realize. If I got one thing against the black chappies, it's this - no one ...
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The title doesn't appear on screen until nearly 20 minutes into the movie. See more »
Excellent. A great, great movie. I saw it last night at a special screening and must say it was a tour de force. Even though Boston is not really a gritty town Scorsese was able to capture a darker side of the city. Coming from that area, I am always concerned when actors put on the local accent as it tends to be distracting rather than supportive. However, with local pros like Damon and Wahlberg they were able to really grab hold of it and not go overboard... most of the time. The true stand out performance has to go to DiCaprio. He has really come into his since hooking up with Scorsese, having scored a number of original performances all of which have expanded his range. He really snagged onto a deep and tragic character and created something that will hopefully be recognized come awards season. One of my favorite aspects was the friendly hostility the characters had for each other. It is a specific trademark that I have never noticed in any other city. In Boston, when you are really close with someone (or not really) it is, more or less, a requirement to bust their balls and shoot cruel insults back and forth in rhythmic banter. That detail was extensively realized in THE DEPARTED and I doubt anybody who was raised outside of the metro Boston area, or at least visited at some point, would find it nearly as hilarious as those who were. As for Scorsese's direction, I think he scored big with this one. While many have criticized that his movies have become more commercial I believe that he has just evolved. There were some classic Scorsese moments here, my favorite being a scene where DiCaprio is alone and packing his things in his apartment. Beautifully cut and stylistically directed. Is it his best effort? No. But it still is truly mesmerizing. He has created something truly special from a city that is highly underrated.
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