A movie like “Black Mass” is essentially the cinematic calendar whispering, “Winter is coming.” It’s a gentle reminder that we are inching ever closer to a glut of prestige dramas filling screens across the country but that the best is still yet to come. (Of course, if you read this in 2016, the last paragraph probably means nothing.)
Director Scott Cooper’s film works fine as a tiding over of sorts. Most 2015 films so far that have provided this level of drama were low budget indies, and anything with this amount of violent bloodshed must have been a giant franchise flick. “Black Mass,” made from a well-structured script by Mark Mallouk and Jez Butterworth, boasts a thrilling experience packaged in some remarkable production values. It all just feels so Scorsese lite.
And for the most part, that made for an entirely satisfactory evening at the movies. I got a film that was perfectly good. It just never approached greatness.
The marketing of “Black Mass” makes the film look like The Johnny Depp Show, and to a certain extent, it is. Anyone who slithers around a film with such amphibian-like eyes and a Donald Trump combover just naturally draws attention, even when not playing a notorious gangster like James “Whitey” Bulger. But, at heart, Bulger is just a boy from South Boston (“Southie”) trying to rule its biggest business – organized crime – by any means necessary.
That involves cutting a strange deal with a former childhood acquaintance, FBI agent John Connolly (Joel Edgerton). According to Connolly, Southie is the only place where kids go from playing cops and robbers in the schoolyards to playing it on the streets, and he gets into Bulger’s racket just like some sort of game. As a part of their deal, Bulger goes on the Bureau’s books as an informant yet essentially gets carte blanche to take out his competition.
Depp might get the more ostensibly interesting character to play, and he certainly plays up just how intimidating and downright creepy a figure Bulger truly was. But its Edgerton who steals the show, essentially playing a Beantown rendition of Bradley Cooper’s Richie DiMaso from “American Hustle.” Connolly is the inside man who gets played like a harp by a key asset meant to bring him professional glory. What motivates him to continue helping Bulger even when the jig seems up proves the heaviest and most complex part of “Black Mass,” and it certainly kept weighing on me after the film ended. B / 
In light of the recent spate of thinkpieces written without having seen the movie in discussion, I do not wish to continue this shameful trend by discussing the (at the time of publishing) unseen “
Marshall and the Movies 
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