What a movie, and Brian Belovarac put it very well. Welcome back, Marty. After The Aviator, Martin Scorsese could have shown us any amalgamation of Casino and Goodfellas, and as long as it had jump cuts, camera dollys, and that one Rolling Stones song, we would have popped big gangster-size boners. By "we," I mean "I". As for "gangster-size boners," you'll have to fill it in yourself.
I saw it twice. The jokes were that good. I can't get enough of Alec Baldwin. By now, he's gotten over any kind of smug self-importance that seems to mark his legendary career (joke), and really settled into the self-aware Campbellian comedy act (That refers to Bruce Campbell, if anyone was wondering). Mark Wahlberg stole every scene he was in. A difficult task, being surrounded by so many (and there were many, many) heavy hitters. Martin Sheen was stately, yet tender. Damon likeable, Leo was all over the map. But Mark had this way of swaggering out of the conference room that was just irresistable. He's always had a knack for that impetuous bull-headed self-righteousness.
Yea, the film had its problems. First, I just don't think Marty can direct action. The micro-chip handoff scene was so contrived and strangely blocked, I didn't know what to make of it. The chase scene after the porn theater was another weird clunker. I've said this before, and it's one of the reasons I don't like Boston: The accent! Okay, Marky Mark and Matt Damon were born to play those characters, literally. They're both from badass South Boston or whatever, but when your ensemble cast can't get together on which r's to drop, there's a fundamental issue. Costello's mistress has about five total lines and she delivers them with five different accents that range from British sleaze to Southern Belle.
It was great, though, and it moved, and god-damn it's about time Martin Scorsese get back to the fun stuff. Don't forget what got you here, man.
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Couldn't agree more on most of the general points.
I took issue with part of the plot though. Why the hell did Leo decide to take matters into his own hands rather than just send copies of the tapes he had (of Damon and Nicholson) to reporters and the police? I mean, are we supposed to believe he's a little unstable/off his rocker? Didn't seem in character to me. Pretty weak.
Also, have you seen Infernal Affairs (the Hong Kong trilogy this is based on)? I haven't yet, myself, but I'm mad impressed that Marty took a Hong Kong gansta flick and translated it into a Boston gansta flick (I'm actually kind of into the Southy backdrop, though the oft-mangled accenting is a slight turn-off, I must admit). Man, I gotta see that trilogy. Thanks for reminding me.
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