The true story of Whitey Bulger, the brother of a state senator and the most infamous violent criminal in the history of South Boston, who became an FBI informant to take down a Mafia family invading his turf.
Juggling angry Russians, the British Mi5, and an international terrorist, debonair art dealer and part-time rogue Charlie Mortdecai races to recover a stolen painting rumored to contain a code that leads to lost gold.
Based on a true story of James "Whitey" Bulger, an Irish Mob godfather and a FBI informant who had a "secret trading" deal with his brother, William "Billy" Bulger, a state senator and a Boston public figure, and John Connolly, an FBI agent. They planned to take down theft Italian mob and mafia in Boston, which went awry and things turned massively violent. When the credence for each other began fading out, drug dealing, murders, and extortion started to rise, and forced the FBI's Boston office to confirm that Whitey Bulger was one of the most notorious criminals in US history and also one of the FBI's Ten Most Wanted List criminals.Written by
Mark Mahoney was cast as Mickey Maloney on the strength of his performance in Blood Ties (2013), without reading or auditioning for the role. According to Executive Producer James Packer, The Venice Beach tattoo artist, scenester, and owner of the Shamrock Social Club was "audacious, to say the least", requesting a very high salary for his relatively minor role. Scott Cooper insisted on hammering out an agreement with Mahoney, partly because of frustration with constant difficulties securing key cast members, and partly because "the amount of money he demanded, and the manner in which he demanded it, was in some ways the best audition I've ever seen! It reminded me why I wanted him for the part in the first place!" In his downtime during shooting, Mahoney would put a shamrock tattoo on any member of the cast and crew who wanted one. See more »
Many shots include the yellow glare of sodium streetlights, which were not in widespread use until the late 1980s. See more »
Before we start, I want you to kow something. I'm not a rat. You understand? I want that on record before we start.
DEA Agent Eric Olsen:
Okay. You are not a rat. And it's on record. Mr. Weeks, the charges against you, racketeering, extortion, kidnapping, and accomplice to murder, are very serious. Am I correct in stating that you are here today to make a deal with the federal government?
DEA Agent Eric Olsen:
And am I correct in stating that you are going from trusted confidant to one of South Boston's most ...
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As the actors are listed, pictures and footage of the real people they portrayed are shown. See more »
The American crime genre is arguably the cornerstone of modern cinema. Think cinematic masterpieces and there's a good chance every third one is a mobster flick or underworld yarn. This breed of film is nothing if not reliable. Why, then, is the first notable movie about one of U.S.A's most notorious and durable heads of crime so unmemorable? Checking off key points in an organised but uninspired manner, this James "Whitey" Bulger biopic is seemingly more concerned about fitting in all the Wiki-worthy moments rather than truly delving into the psyche of a monstrous man. The unfocused script stems from the choice to trace two decades of Bulger's life (1975 to 1995), an unwieldy stretch of time that results in an unclear filmic timeline and the requirement for truly horrible makeup and wigs. Johnny Depp has succeeded at portraying a gangster before – his John Dillinger in Public Enemies is enthralling – however he's lumped with too many poorly executed physical alterations and character development shortcomings to make an impression here. Aussie Joel Edgerton fares better as a morally intriguing federal agent skating on thin ice, and Kevin Bacon is enjoyable as a frustrated FBI boss, but why Benedict Cumberbatch signed on for such an inconsequential role, as Bulger's Senator brother, is anyone's guess. Scott Cooper keeps it relatively low-key behind the camera, aside from a couple of stylish murder sequences, with the suitably dour cinematography and unfussy score following suit. Overall Black Mass is never overtly bad, per se; its major sin is just being so damn standard.
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