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USA, Hong Kong
Crime, Thriller, Mystery
IMDB rating:
Martin Scorsese


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Leonardo DiCaprio as Billy Costigan
Matt Damon as Colin Sullivan
Jack Nicholson as Frank Costello
Mark Wahlberg as Staff Sgt. Dignam
Martin Sheen as Cpt. Queenan
Ray Winstone as Mr. French
Vera Farmiga as Madolyn
Alec Baldwin as Cpt. Ellerby
Kevin Corrigan as Cousin Sean
James Badge Dale as Barrigan
David O'Hara as Fitzy
Mark Rolston as Delahunt
Robert Wahlberg as Lazio - FBI
The Departed Storyline: 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 his double life, gathering information about the plans and counter-plans of the operations he has penetrated. But when it becomes clear to both the mob and the police that there's 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 himself. But is either willing to turn on the friends and comrades they've made during their long stints undercover?
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not a patch on INFERNAL AFFAIRS
this movie is completely inferior to Infernal Affairs on just about every level possible

IA anticipated an audience with a brain cell or two, and so explains during the title sequence what it takes this remake around 30 minutes or more to explain. repeat, during the *title sequence* we are given all of the information we need to know about the informant plants (which btw were realistically placed some considerable time in the past, rather than several months ago) and are then straight into the movie

scorsese takes this fabulous material and then dumbs it down to spoon feed it to a western audience. all of the sharp and intelligent dialogue of the original is gone in favour of your usual Hollywood 4 word expletives. every other word in this film is an F word, and they are mostly totally unnecessary. all of the stylish camera work of the original is lost, for example the ultra cool roof top meets. and to top it the casting and performances are dry and bad

nicholson gives us a performance which is no more than good old bottled vintage jack. here's jack doing an impression of a rat etc etc, yawn.

di caprio is good as usual but still doesn't nail the performance mostly because he doesn't physically suit the part. he just doesn't look tough enough for the challenge (as presented in the departed)

wahlberg on the other hand tough's it up to the Nth degree, and is just absolutely atrocious. this man is working in a high level intelligence department and he plays it like a street cop. it's a totally inappropriate display and really reveals his limitations as an actor

matt damon is just too plain, he is just totally unmemorable in this movie

for a director who used to be at the cutting edge of cinema, this is a fat and lazy remake of a lean and mean original movie/trilogy which i urge you strongly to see. time for scorsese to hit the gym and go back to basics

for people unaware of the original i'm sure they'll be blown away by the incredibly intricate plot in scorsese's departed. unfortunately what they probably won't know is that this is a dumb rehash of Infernal Affairs
F***ing s***, this won the f***ing Academy f***ing awards??!??
First, is it me or is it still the in-thing these days to act tough by saying f*** ALL the time? This movie is littered with f*** every other word. It makes the movie so 80s. All the subtleties are lost by the poor dialogue.

As you know, this movie is based of a hong kong made movie "Infernal Affairs". If you have the chance, watch that version. The plot is similar, but it has a lot more subtleties that this movie failed to produce.

I'm very surprised that this movie won the best picture and directing. It's an entertaining movie, no doubt, but it's definitely not up to par....
I don't want to vote for this movie but I find it very low from the Americans to remake an Asian movie and to get (or will get)a bigger success then the original movie.I want to criticize the American movie industry because they are not original. It is better to search for original ideas then to play the role of the copycat in our society.

I wanted to say my opinion to those who appreciate the American movie industry so much.(and surely this movie)

good examples of remaked movies are : the ring , the grudge , the seven samurai, Godzilla , (masked rider) and more (they planned also to make an American version of Battle royale)

Even if they remake it well they will never win my respect and i will consider it like fake.

thank you
Should be called "The Retarded"
American remake of the successful "Internal Affairs" trilogy, about two men seeking out each other's identity; one is a cop that goes undercover as a mobster, the other, a mobster that goes undercover as a cop. Dream-boats Damon and DiCaprio do a good job vanishing into their roles as tough guys, but their charm and ruthlessness still can't mask the crime-thriller clichés; and the ultra-climatic conclusion is just really nothing more than simply over-the-top. The wittiness of Jack Nicholson doesn't impress since he doesn't seem to do much acting, but rather just charismatically act like Jack. The quirky dialogue of Irish-American mobsters comes off as corny and tiring. Martin Sheen and Mark Wahlberg are memorable and well-delivered in the humorous good-cop-bad-cop odd-couple, with the latter earning a Best Supporting Actor nomination. It was the only nomination that was well-deserve, the only nomination that didn't win and the only nomination that should have won. Won Best Picture, Editing and Adapted Screenplay. It should be called "The Retarded".

*½ (out of four)
Mediocre at best. Don't get your hopes up...
OK....I'm preparing for my death on these message boards but here goes...

Am I really the only one that thought this film was incredibly overrated and definitely not one of Scorsese's best? I'm sorry, but I've seen it 3 times, each time praying I will somehow see the "amazing Oscar-winning-film" that everyone rants and raves about but no: I see a somewhat waste of an amazing cast, a crappy script, and Scorsese after having a little too much sex with Hollywood. NOW before you murder me, please read some of my reasons below:

The Script: was ridiculous at times. Some of the dialogue was almost unbearably fake to me, and at times laughable (especially with DiCaprio).

Cinematography: was amazing at points, but by the 100th "zoom-in-really-quick-on-a- character-when-they're-talking" I was bored of it.

DiCaprio: was unoriginal....point blank. It doesn't take much to be an aggravated, obnoxious, and mean little goatee-ed man who is hooting and hollering all of the time, a role that seems to be DiCaprio's favorite type. As much as I respect Leo shedding his pretty boy skin and doing ACTUAL roles, I'm getting pretty sick of the same character he plays in every film.

The Story: was incredibly unbalanced. There were a few choice scenes that would fall in the "Brilliant" category for me, but a good 60% of the film was nothing more than mediocre.

The Ending/last shot: was stupid. How much skill and creativity does it take to kill everyone in your cast? NONE. It was an easy cop-out. And let me be the one to say that the last shot was comedic. "GABEGOMEZ4, YOU DON'T GET THE SIGNIFICANCE OF THE RAT AND THAT SHOT!!! YOU'RE SUCH AN AMATEUR WHO IS BLIND TO EVERYTHING GENIUS ABOUT THE ENDING!!!!" is what I'm sure all of you are thinking/typing as we speak but doesn't take a *beep* rocket-scientist to get the symbolism of a god damned rat.

Scorsese's talent: was missing in this film. His true talent and love for the film was simply un-evident in The Departed. I miss the Meanstreets' Scorsese, and the Goodfellas' Marty. Personally I feel that it was slightly disrespectful to Scorsese to give him the statue for this film. The academy was basically saying "Hey, sorry about the past and overlooking your works-of-genius, but since you made a bloody Irish-mob film with some of the most talented actors in the business never mind how mediocre it was, we'll give this one to you!" Please....Scorsese, please go back to your roots.

Look don't get me wrong, I don't think this film is terrible. It has fantastic parts, and you can't really go wrong with Matt Damon. In reality, I'd give it a solid 7. But given the circumstances, I feel the need to call it out on it's faults.

Thanks for reading and remember, it's just an opinion.
In a society where being rich and famous is everything, it's sad to see a former rebel succumb to his nation's core values. Martin Scorsese decided being a celebrity with all the material trappings were what mattered most to him, and dreadful films like Departed and Aviator are the result. Perhaps Mr. Scorsese can rationalize his admirable work on film restoration and figure he's doing his part for the greater good, but I'm not buying it. In fact, I no longer will see a film simply because Martin Scorsese is the director. I wish he and Mick Jagger would take their champagne and yes-men to France, and leave the film and music-making to more eager and less corporate fellows. Also, as much as I respect Roger Ebert's analysis and writings, I can not take seriously his review of a Scorsese film. Don't know if their buddies, but if Scorsese directed The Fish That Saved Pittsburgh, Ebert would give it four stars.
Never will be "departed" from the pantheon of premiere American directors.
"The heaven sets spies upon us, will not have Our contract celebrated." Shakespeare, The Winter's tale

It's not Taxi Driver or even Goodfellas, but Martin Scorsese's Departed is one of the year's best films and one of his best, after his 2 or 3 indisputable classics such as Raging Bull. The director has assembled a first-rate cast, who, right down to Jack Nicholson as mobster kingpin Frank Costello, are having a great time nudging each other's performances toward excellence through collaboration.

Remade from a 2002 Hong Kong smash called Infernal Affairs, The Departed tells of moles within the Boston State Police Department and the South Boston Irish-American mob. When the director opens the film with Costello's brief narration and the Stones' Gimme Shelter for background music, we're in for a whole lot of no shelter for anyone and uncommon acting for everyone.

The set up is just complex enough to act as a metaphor for the nasty workings of the United Nations, Iraqi Assembly, and US Congress. Billy Costigan (Leonardo DiCaprio) willingly serves as a mole in the South Boston Irish-American mob for the State Police, while Colin Sullivan (Matt Damon) does the same in the State Police for the mob.

Amongst the intertwining machinations of cell phones and lies is a triangle with those two operatives and a psychologist Madolyn (Vera Farmiga), as well played by the three as could be hoped for in such a trumped-up situation that provides little sexual payoff for audience voyeurs and many scratched heads for those who enjoy well-structured plots. This triangle is the only disappointment in a film layered expertly to show how intertwined crime and punishment can be in a world last laid bare by Clint Eastwood's Oscar-winning Mystic River (2003).

Cinematographer Michael Ballhaus and production designer Kristie Zea are winning collaborators with the director for a look that is authentic (I worked in South Boston for 3 years), crisp, and dark. But in the end the film belongs to the actors, chief among them DiCaprio as a young Scorsese acolyte showing the master's handiwork after 3 films with him. And Matt Damon has never been better in his hometown, as has fellow South Bostonian Mark Wahlberg in his role as a detective with a barbed tongue and equally sharp intuition.

Welcome back, Martin S. The Departed may not win you an Oscar, but it does guarantee you never will be "departed" from the pantheon of premiere American directors.
The Disappointed
Despite all the hype, the Oscars, and the good reviews on this site, I found the Departed a great disappointment. The story never for one moment captured my interest. There was not one character that I cared what happened to. And, as it seemed that most the actors were doing their jobs quite well, I assumed it was either story or direction that was the problem with the movie, or maybe both.

I found that the Departed suffers from Tough Talkitis. That is when all the characters speak to each other with such tough, rude, arrogant attitudes, it becomes unreal (like a cop show on Fox). Why? Because no people anywhere interact with each other that way in real life. It's a synthetic movie-acting manner that actors take on to project toughness into their roles. It is too fake.

DiCaprio and Damon do reasonably well in their over-tough parts, DiCaprio especially. Sheen is restrained. Wahlberg is particularly annoying as the police sergeant who never is for one moment human. He is smug and coarse. No doubt the director shaped that characterization. Worse than all is the outrageous hamming of Nicholson, a lifelong favorite of mine. I never believed him for a second in this role as some sort of serious Joker gangster. Alec Baldwin is very good in one of his small roles, which he seems to specialize in these days.

The story is humdrum and boring. I began looking at my watch about 15 minutes into this epic. There is no humor, even less character development, annoying side shows (the shrink girlfriend), and no real tension in the tale. After one hour and forty-five minutes of this, I realized that I did not care about what happened to any of these characters, nor did I care how the 'story' turned out. So I shut it off.

Three stars for a good try (stretching it!).
Sublime Scorsese
Definitely the the type of movie that makes it worth going to the theater. Very intense action and violence, twisting plot, lot's of misdirection.

The story line is a bit overly whelming at times, this isn't a good movie to watch if you're tired and follow the action, the double crosses and the sometimes confusing who's who of the movie, but if you can just remember the basic characters the minor twists won't be too confusing.

While it's certainly not a love story, there is that element, with a bit of a morality play going the whole time.

I can't make some of the statements I'd like to make because I really try to avoid spoilers in my reviews, but I'll say that I enjoyed the movie even though had I been in charge it may have ended differently...

All that said, if you like a thriller that has some rough and tough violence and a plot with a few twists and turns this film would be one I'd recommend to you.
The Untalented
The title clearly refers to Scorsese's talent, which vanished in a squirt of stage blood about 15 years back. He wasn't talented, he was brilliant -- but that was then. Today he should be making intelligent independent movies, elder statesmanly flourishes of wit and humanity, inspiring a younger generation. Instead, he's humiliating himself with overblown junk. His love affair with hoodlums is tiresome, his critique of Catholicism is ignorant and stupid -- I mean, I dislike Catholicism as an institution, and God knows it doesn't need me to defend it -- but any sociological or spiritual phenomenon with the history and complexity of Catholicism deserves better treatment than the head-kickings Scorsese metes out. And ironically, Scorsese has made his own Faustian pact with the Devil -- he had his years in the Hollywood wilderness and feels he won't get anything thoughtful financed -- so it's better to team up with a bankable but untalented actor and produce these lumbering, brainless sub-epics.

Many people in their comments here have struggled to express quite how deeply bad this film is. I too am at a loss. It's intriguing for a while, then downhill races into one of the worst supposedly classy films EVER MADE. Jack does his Jack Show, because he is vain and because no one has the guts to tell him that it was already self-parody 20 years ago. Supposed hard man Leonardo looks as enraged as a poodle when the canine beautician has gone a bit to close to his ear with the electric clippers. Matt is actually OK in the light comedy bits, which makes one wonder why he has become Hollywood's current Brooding One. Wahlburg -- rubbish. Sheen looks like he's focusing all his energies on trying to deliver his lines without spitting out his dentures. By the way, I reckon the script originally developed the sexual thing a bit more -- as it implies that Damon is not as groovy between the sheets as Leo, and his homophobia and other things seem to hint at his being a gay in denial -- but they decided that audiences wouldn't buy a gay hero, or it scared Damon, or God knows what -- just another loose end in this spaghetti-plate of a movie.

Overall, hardly anyone in this movie (Winstone is an exception) act-ually ACTS. They are all oh so boringly themselves. Consider Olivier in Marathon Man, how his characterisation of an ageing Nazi suggested all sorts of undercurrents of twisted psychotic nastiness -- and then look at Nicholson's leering, over-the-top gurning. Chortling as you pull the trigger on someone is not really quite enough to convince us we are witnessing evil, Jackie baby.

By the way, the film shows cutting-edge developments in cinematic blood-squirting technology. Instead of the wounds exploding using charges that produce a small cloud of smoke, they sort of vaporize -- it looks like it's done with compressed air. A great advance Scorsese can be proud of.

This film has been larded with praise -- by gaga members of the Hollywood money machine. Every year people say Scorsese deserves an Oscar, and it's usually because we remember his early films. Well, they have Lifetime Achievement Oscars if we want to reward a body of work. Now he has to go to his grave knowing he got the Oscar for a Turkey. Only he probably doesn't know. And do any of the egos involved in this mess care? Hollywood cynicism, parodied in Scorsese's last film, The Aviator! What a joke.

Right -- my last word, if you're still reading. We are currently being told by our masters to hate Iran. It has one of the few cinemas in the world that sometimes try to show something true about the human condition. Whereas our civilization produces, as one of the top-billing cultural manifestations of the year, expensive to make, heaped with praise and awards, exported around the world and seen by multiple millions--something about as edifying as watching lions tortured or Christians having limbs lopped off at the Roman Colisseum two millennia ago. What does this say about us?
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