A tégla

El akartam kerülni az összehasonlítást az ázsiai Szigorúan piszkos ügyek című bombafilmmel, melyet A tégla című film utánoz. De ha ismered az eredetit, amelyben a történet lendületesebben, áttekinthetően van megfilmesítve, és egyetlen szereplője sem célzottan pózoló (Jack Nicholson), és ázsiai optikája egy európai számára egzotikusabb, mint az elcsépelt "piszkos Amerika", A tégla film nem tud elszédíteni. Persze - Martin Scorsese és udvari operatőre mesterei szakmájuknak, az ember egy pillanatig sem unatkozik, folyamatosan a világ színészi elitjének társaságában van, akiknek karaktereit a rendező utolsó cseppig kiélvezi. Csak érezhető a film egészéből, a végső utóízéből, hogy az alkotók nem is közelítettek hozzá annyi szeretettel, mint amennyivel az Aviátor című filmet készítették . Az egyetlen, aki teljes odaadással és lélekkel beleadta magát a projektbe, az a dinamikus színész, Leonardo DiCaprio. Még néhány ilyen szerep, és felkerül a színészi top 5 listámra. De egyébként A tégla csak egy szolid zsaru-maffia dráma, amelyért az amerikai közönség csak azért van oda, mert olyan befejezése van, amit Hollywoodban nem szoktak meg. A kortárs amerikai produkció kontextusában a film 4 csillagot érdemel, de a rendező filmográfiájában biztosan nem. Szívesen megnézem újra, de egy kis csalódottságot nem tudok leplezni. (2006.10.27)

It’s against nature, but Marty is getting younger. This is the kind of fucking entertaining film that even a young kid in the director’s chair wouldn’t be ashamed of. Those almost two and a half hours passed by like water. In the case of the ensemble cast, it's pointless to comment on DiCaprio and Nicholson, they're chapters unto themselves, so I'll just single out the much-maligned Damon (that perfect smarmy crooked character, I can't imagine it could have been played any better) and especially Wahlberg (!!!), whose brilliantly written lines were a joy to listen to, and his banter with Baldwin made me laugh out loud. After the screening, I remembered Steven Spielberg's words that he "doesn't have to prove anything to anyone anymore and just wants to have fun with movies", I feel the same way about The Departed. I probably wouldn't give Scorcese an Oscar for it, in the context of his previous, albeit more notable work (if does get it, it will be mainly "for merit"), but it's gratifying that underneath the skin of the grey professor emeritus, there's still that old familiar rebel from the days of Mean Streets and Taxi Driver :) (2006.11.19)

Four stars for that beautifully dry ending, but as a whole it didn’t really thrill me. There are a lot of big names, but the best is DiCaprio, he’s really unlikeable, but his performance is great. His antagonist, Matt Damon, in contrast, is a jerk at times, not because he’s bad, but because I didn’t find him believable in the role. The story moves along quite slowly, there aren’t any proper turns until about the middle and before that, you have to put up with a lot of dialogues that are supposed to be vulgar, dirty and tough, but they are clearly fake and forced. For me, The Departed deserves 75%. (2008.08.27)

Until the very end, Scorsese's speedy directing and the great actors manage to disguise the fact that this tale about cops, rats and hidden agents may have too trivial of a plot, in which, unlike Infernal Affairs, there is no room for deeper psychology and surprises. Nevertheless, it is a thriller that can be watched breathlessly and enjoyed at an incredible pace of storytelling. The question is whether it can be watched more than once. (2008.08.10)

At the blessed age of sixty-four, Martin Scorsese delivers a gangster flick so precise that his colleagues a generation younger can only be quietly envious. The 150-minute trip amongst the highest police and mafia brass is told with incredible ease, the utmost sense of the perversity of both worlds (conveyed through the fatal love of one woman), and an absolutely divine dose of chilling black humor. You won't find an unnecessary movie window in this work, let alone a scene. Scorsese once again stylizes violence as a normal routine aspect of life, which he breaks at the very end only to play lightly with the viewer and show that even he doesn't have to take himself deadly seriously. The cast of the greatest actors is interspersed here, from the riveting DiCaprio to the relaxed Damon (any talk of overacting is bullshit!), the diabolical Nicholson, and to the absolutely brilliant Mark Wahlberg. Everything is underlined by stylish musical accompaniment, starting with Pink Floyd and ending with the thrilling punk blast of Dropkick Murphys. After finishing the film, I had only one desire: to watch this concentration of perfection again! (2006.11.12)