Domino (Scott, 2005)

Relentless, eye-gouging mise-en-scene. Paints the entire world as a flickering lightbulb, consistently unpredictable and always threatening to extinguish. Climactic gunfight far more coherent and effective than I remember. Narrative is purposefully ludicrous, constructed to hide the economic concerns/motivations of fringe characters and subplots, the real heroes of this film. Still, a part of me hates DOMINO because Scott relishes his own stylistic show-boating over character and theme.

2 thoughts on “Domino (Scott, 2005)

  1. This is my favorite of all Tony Scott movies — and precisely because in this case his stylistic showboating actually helps create character and theme (rather than, as in almost all his other movies, simply takes cliches and diddles with them in a “current” but pointless manner). Domino is an amazing movie. We watched it again the other night, and I had even forgotten how terrific Keira Knightly was. And Édgar Ramírez is so much better here than in Carlos. (I’d forgotten that he was in this movie, too.) My second and third favorites would be True Romance and The Hunger. For all the rest, to me they still seem like mostly junk food trying to come across as haute cuisine.

  2. As always, thanks for your comments, Jim. DOMINO certainly went up a few grades from when I saw it in theaters. There’s a lot more there than I gave it credit for, but I see DEJA VU a Tony Scott’s best, as it’s directly about the power of deep emotional/narrative ripples, whereas DOMINO fabricates those ripples through aggressive stylistics. But I know there are many others who fight for DOMINO tooth and nail, so you’re not alone.

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