Departed, The

Odd, that America's greatest living director would choose to make 2006's most auspicious film from a 2002 cult hit in Hong Kong. Throughout his career, Martin Scorsese has allowed his directorial prowess to take him where there was a story to tell. Here, in the ripe world of corruption and duplicity, Mr. Scorsese also seems to produce his best work. "The Departed," certainly, is no exception. Adapted by William Monahan (Kingdom of Heaven) from Siu Fai Mak's original screenplay, "Infernal Affairs," Monahan's take flips its viewers to Boston, where the Irish mob still rules the city's underbelly. Here, in Scorsese's world, the kingpins are ruthless, powerful, corrupt and completely untouchable. Strangely enough, so are the cops, and by cops, the film suggests every single one of them. They have to be, in order to achieve success at their profession, those who are sworn to uphold the law must be justly villainous.

"The Departed" is less an out-and-out crime drama and more a discussion on the complete annihilation of communication on all levels, from workplace to loved ones, due to the utter resistance to relinquish one's own agenda. Taut, thrilling and completely entertaining, "The Departed" is easily the best movie of the year so far.

Working for the second consecutive time with Leonardo DiCaprio is a move that may have many asking, "why?" However, those who have been watching closely, have realized the bond between filmmaker and actor has significantly grown and improved with each collaboration. From the magnificent "Gangs of New York," to DiCaprio's superlative effort in "The Aviator," Scorsese seems to be able to tap an unlimited potential from his leading man. This time around, the duo seem to have settled on creating a character who represents both extremes of the previous two characters. Billy Costigan has both the unbridled ferocity of Amsterdam Vallon, while being inwardly consumed by his own paranoia; much like Howard Hughes. DiCaprio's quiet personal menace ? a trait he seems born to play ? slowly consumes him and, as a tribute to his incredible onscreen presence, makes the character someone with whom the audience immediately identifies and empathizes. DiCaprio is so likeable, so endearing ? even when beating gangsters half to death ? that he is totally engrossing for the audience; he is the anchor that keeps everyone in their seats.

In keeping with that principle, Scorsese wisely cast the rest of his film with readily identifiable actors, whose job is to get lost in their respective roles. Matt Damon's corrupt Colin Sullivan is such an inherently evil and despicable character, that a lesser actor, under the tutelage of a much lesser director, would have played him as such. Instead, Damon makes his character almost as likeable as DiCaprio. Were it not for the obvious moral issues in the way, Damon's Sullivan would be exactly what he is pretending to be: a great cop. He is, in fact, so likeable that when he engages in acts of supreme villainy, it is truly shocking.

The same can be said for the third (or is it first?) star, Jack Nicholson. His embodiment of Frank Costello, head of the Irish Mafia in Boston, is easily more likeable, due to his coked out, unsuppressed violence, than he ever would be if Nicholson had chosen to play him as out and out ruthless. The problem with Costello is that he has gone unchecked his whole life and his lack of accountability has essentially created a monster. It's not that he's inherently a bad guy, like Damon or even DiCaprio, it's that no one is around to keep these guys in check. Furthermore, their collective ambition is so great that their dubious methods might actually be the only way for them to have ever achieved their goals. This is also the key to all of the supporting characters as well, from the brilliantly cast Alec Baldwin, Ray Winstone and the amazingly enjoyable Mark Wahlberg, all the way down to Martin Sheen. The cast, and more importantly, the characters, are all so deeply enjoyable that you, as the audience member, will be on the edge of your seat waiting to see what fate befalls any of them.

The remainder of the film amazingly dissects that which binds us and that which, when used poorly, keeps us from ever truly making a connection, even amongst those we interact with constantly. It is, in fact, the main link in the chain keeping society running. Communication is what "The Departed" analyzes so thoroughly, without deliberately coming out and saying so. Filling the void of empty lives with lies, deceit and violence, each character's bleak existence is exquisitely put on display due to Scorsese's extremely deft touch.