Film
The Departed
Scorsese remakes Hong Kong's Infernal Affairs as a Boston opera of betrayal: a mob plant rises through police ranks while an undercover cop burrows into the Irish mafia, both racing to unmask the other before someone gets found out. It's propulsive, profane, brutally funny, and ends about as mercifully as you'd expect. For anyone who likes their crime pictures loaded with dread and great actors chewing scenery with purpose.
If you liked this
Heat1995
Mann's cop-and-criminal epic gives you the same electric cat-and-mouse tension, two magnetic leads circling each other, and a sense that professionalism is its own kind of tragedy.
But It's slower and more contemplative — closer to a tone poem about work than a thriller with constant twists.

Donnie Brasco1997
The undercover-cop classic that does the identity-erosion thing with quieter devastation — Pacino's aging wiseguy is heartbreaking, and the moral rot creeps rather than explodes.
But Less flashy, less violent, and the pace is deliberately unhurried compared to Scorsese's kinetic style.

The Town2010
Affleck's Boston crime saga shares the neighborhood, the accents, and the sense that loyalty and survival are constantly at war with each other.
But More heist-movie than mole-hunt, and it doesn't have the same operatic scale or bench of A-list actors.

The wildcard
Something you would not have found on your own.
Infernal Affairs2002
It's literally the source material — same double-mole structure, same tragic architecture, entirely different cultural register and running time.
This is the Hong Kong film The Departed remakes almost beat for beat — leaner, colder, more melancholic, and arguably the superior version of the same story.
But Subtitled and stripped of the star wattage and profane humor Scorsese layered on top, which changes the whole texture.

More like this (8)
GoodFellas1990
Scorsese's earlier mob masterpiece, all velocity and voiceover — essential if you want to see where his crime-movie DNA comes from before it curdled into this one.
But It's a rise-and-fall story rather than a duel of double agents, so the suspense engine works completely differently.

Mystic River2003
Another Boston film obsessed with how the past never really lets go, with a trio of performances (Penn, Robbins, Bacon) as devastating as anything here.
But It's grief and guilt rather than genre thrills — much sadder, much less fun.

Training Day2001
A corrupt-cop showdown with the same pleasure in watching a good performer play someone rotten to the core, plus a real sense of moral vertigo.
But Compressed into one day rather than a slow-burn infiltration, so it trades complexity for velocity.

American Gangster2007
Denzel and Crowe squaring off across the law in a sprawling crime empire story with the same appetite for institutional corruption and empire-building.
But More procedural and less personal — you don't get the same intimate double-agent psychology.

No Country for Old Men2007
If you want the bleakest possible aftertaste and a story about how violence outruns any system built to contain it, this is the gold standard.
But Far more austere and existential — barely any of the dark humor that keeps The Departed buoyant.

Casino1995
Scorsese and De Niro doing another empire-crumbles story, longer and glossier, if you want more of that same reckless, doomed energy.
But Nearly three hours of excess with less narrative tension — it's a portrait more than a thriller.

Line of Duty2012
Same DNA of undercover deception and institutional rot, but reimagined as a serialized format where the paranoia has years to fester instead of minutes.
A British police-corruption series that stretches the mole-hunt premise across seasons, turning every interrogation scene into an hour of unbearable tension.
But Slow-building and bureaucratic by design — it rewards patience rather than delivering immediate gratification.

Whitey: United States of America v. James J. Bulger2014
Costello is a thinly veiled Whitey Bulger; this doc shows the actual corruption, betrayal, and body count the fiction was built on.
A documentary about the real Boston mob boss and FBI informant who inspired Jack Nicholson's Costello — stranger, sadder, and angrier than any fictionalized version.
But No score, no movie-star charisma, just courtroom footage and grieving families — the real story is much less fun to watch.

People
Cast
Leonardo DiCaprioBilly
Matt DamonColin
Jack NicholsonCostello
Mark WahlbergDignam
Martin SheenQueenan
Ray WinstoneMr. French
Vera FarmigaMadolyn
Anthony AndersonBrown
Alec BaldwinEllerby
Kevin CorriganCousin Sean
James Badge DaleBarrigan
David O'HaraFitzy
Directing
- Joseph P. ReidyAssistant Director
- Martin ScorseseDirector
- Martha PinsonScript Supervisor
- G.A. AguilarSecond Unit Director
Writing
- Alan Mak Siu-FaiOriginal Film Writer
- Felix Chong Man-KeungOriginal Film Writer
- William MonahanScreenplay
Production
- Emma Tillinger KoskoffAssociate Producer
- Ellen LewisCasting
- Doug DavisonExecutive Producer
- G. Mac BrownExecutive Producer
- Roy LeeExecutive Producer
- Carla RaijLocation Manager
- Brad GreyProducer
- Brad PittProducer
- Graham KingProducer
Recommended by
GoodFellas, The Dark Knight, Heat, The Godfather Part II, Casino, Donnie Brasco, The Town, Gangs of New York, Good Will Hunting, Infernal Affairs, Reservoir Dogs, High and Low, Serpico, Training Day, American Gangster, On the Waterfront, MobLand, The Dark Knight Rises, Whitey: United States of America v. James J. Bulger, The Infiltrator, Prince of the City, Carlito's Way, Point Break, The Irishman, White Heat, Eastern Promises, Black Mass