Domino

Domino opens up with the title character being interrogated, and through the voice-over narration she informs us, "This is the part where I tell them to go to hell – that I'm not talking until my lawyer arrives." And two seconds later she tells the interrogating officer, "I'll tell you everything." This sets the tone and rhythm for the rest of the movie, and lets us know the narrative isn't afraid to contradict itself. Soon we jump to the setup of the film's ending, then we jump back to the beginning of Domino's story, and then we jump to an important plot point that won't come into play until twenty minutes later. Literalists and traditionalists, please stop watching the film immediately. So in the spirit of the film, I'll come back to this point in a little bit and probably say something completely different. If you're with me, you'll understand. If not, get lost.

Regarding the style: I never thought I'd see the day when I'd like a movie with a music video meets reality TV vibe. I've hated – no, scratch that – I've loathed films that would merely flirt with the idea. I've stopped caring entirely about plot/characters and any redeeming values because the style has driven me up a wall in those other films. Here, though, Tony Scott doesn't think twice about embracing it, and at first it didn't sit well with me as I remembered all the failures that came before Domino. But then something happened . . .

Mel Brooks, in describing his overboard ideas of comedy, once said, "What's the point of going all the way to the bell without ringing it? Let's ring the damn bell." Maybe my problem with this MTV/Reality-series style of film-making has been the fact that every other filmmaker was content to go part way – to just flirt with the idea – but here at last Tony Scott rings the bell.

And holy crap! When I started to listen it actually sounds good! Real freakin' good.

Perhaps another reason why it works in this film is because Tony Scott understands the potency behind each of a film's individual elements. And he's not content to let the music, editing, on screen performance, Kiera Knightley's voice-over, and on-screen text tell their small part of the story and work together as a whole; Domino uses each of its given elements to simultaneously tell their own version of the tale from beginning to end in its entirety. It's a full-on frontal assault of the senses and gives the viewer the feeling five people are telling their own interpretation of the exact same story at the exact same time – talking over one another, contradicting one another, interrupting each other, going back and correcting themselves.

You've heard of Howard Hawk's overlapping dialogue? Tony Scott gives you overlapping cinematic narrative elements. The genius and the magic is that Tony Scott masterfully maintains comprehensible order through all this narrative chaos, and somehow Tony Scott makes it all work.

Also, the film's stylization has another point behind – it serves as a reflection (dare I say an alternate, yet effective, means of character development?) for Domino Harvey, her attitude, and the world she lives in. This movie is not content simply telling us about the world, it's a part of that world too, and for two hours it wants to bring us there. Or to draw an analogy – you can listen to a book being read in a flat monotone or you can listen to it being read with different voices for each character, and the narrator gets up and acts out the story too. Domino goes that extra distance.

The plot? I'd be wasting my time if I tried. Domino Harvey is a former model turned bounty hunter. And the movie, itself, is an action-adventure thriller. You don't need to know anything more. The point of Domino isn't on the contents of the plot, the point of Domino resides in the style in which that plot is told (and it is told very effectively). Or in other words, a summarization is nearly pointless. If you need to "get" the plot, you're not going to "get" Domino at all.

Domino is a style, an attitude, a perspective. It's a film willing to tell its audience to either come along for the ride or get lost. Based on a true story? Kiera's voice over says it, "If you want to know what *really* happened . . . get lost!" (note: stated with significantly harsher language that IMDb doesn't want to accept in a review, but you get the idea.)

DOMINO

Tony Scott has a very unique style, either you love it or you hate it. Personally I love it - you can freeze his work at any time, print out the image and sell it as art. It is beautifully shot. Domino is no exception.

Keira Knightley plays Domino Harvey - a beautiful, talented and deadly bounty hunter. She is perfect for the role, and shows us how far she can pull away from all her other roles (examples Bend it like Beckham and Pride and Prejudice). She truly proves that she can play one tough bitch, and I love it. The supporting cast works perfectly, Mickey Rourke and Edgar Ramirez have amazing chemistry as the lovably tough-ass bounty hunters and as always Christopher Walken shines.

The character development in the film is enough to really care for Domino in particular, as well as her team later on down the line. There is enough narration and flashbacks to know where she comes from and genuinely care whether she lives or dies. This connection with Domino definitely helps the story in its tense moments.

The movie is extremely fast paced, with not much time to absorb it all in the first sitting. Watch it two or three more times and you will appreciate it more and more. Playing at 123 minutes, it is the perfect length, not too long and not too short. The story needs as much time as it can get however to tell the lengthy true story, however Tony Scott manages to find a way to fit it perfectly in.

The soundtrack is extremely unique, with extremely cartoonish sound effects, but somehow it works. I don't think the soundtrack could have worked with any other film, there are hundreds of different tracks, but all fit the mood amazingly.

Why is this movie receiving so much bad publicity? Wouldn't have a clue, like I said before - it seems you either you love it or you hate it. This film has taken an amazing story, thrown in a whole group of amazing actors and then presented itself beautifully.

Go see this film for yourself, give it a chance - don't believe all the bad publicity. This film will have you on the edge of your seat from start to finish.

I give this film a 9/10 - I am in love with it. The only thing holding it back is the Jerry Springer scene, just doesn't seem right in a movie.

DOMINO is a messy film, one of the most overblown I've seen. It rattles along at a fair old pace, screaming and shooting, and director Tony Scott goes out of his way to make every scene, every frame even, as stylish as possible. It's a mess of choppy editing, over the top dialogue and people screaming as they shoot each other while a pumping soundtrack plays over the proceedings.

The huge cast come in and out of the storyline, about bounty hunters going after some guys who've stolen a massive haul, and it's all rather lightweight and nonsensical. The ensemble cast is good, but these are caricatures rather than real people, and larger than life doesn't really describe the huge egos and outlandish behaviour filling the screen. I've never liked Knightley, but she's probably at her best here, given the chance to do something other than period dramas; Mickey Rourke is gravely and tough, continuing the career rehabilitation begun with SIN CITY; Christopher Walken shines in a supporting role.

But the script is all over the place and the attempts at comedy sit ill with the main thrust of the story – long, unnecessary segments including the Jerry Springer one just drag the film down and scream self-indulgence. By the end, I neither knew nor cared about any of the cardboard characters in this headache-inducing movie, just longing for it to be over.

I just saw a sneak preview of Domino, followed by a Q&A with writer Richard Kelly. Kelly said that this whole film is "self-reflexive," and that it is supposed to be a satire of reality programming. However, it doesn't come off that way at all. Sure, there's a little satire in there. But the satire is so inconsequential, it ends up actually detracting from the force of the story. I don't know if Kelly just doesn't understand this movie, or what. Of course, it's not really his movie, as he freely admitted. It's Tony Scott's vision. And some of it works.

Mickey Rourke is in top form. However, I am very disappointed in how his character plays out. Just when he should really step up and show what he's all about, he fades away into the background. That was very disappointing. He's supposed to be the leader of this trio of bounty hunters. However, for the second half of the film, Domino is apparently in charge. This huge development is never explained or even acknowledged in the film. It really doesn't make any sense.

Also, the film has the makings of a slightly twisted love triangle, but unfortunately it is never fully realized. How the love theme plays out is wholly anti-climactic, unnecessary, and unconvincing.

Kiera Knightley does have some good moments here. She shows a lot of strength and courage. Still, her portrayal of Domino is often unconvincing. I don't think that is all her fault. I fault the direction and writing more than anything else.

Ultimately, I think the movie fails because of the style . . . that is, the plot and character development are too often sacrificed for the sake of style. Because of that, the film often seems a little ridiculous and occasionally nonsensical.

Richard Kelly said that it has to be viewed multiple times for all the subtleties to fall into place. I think he's completely wrong. This film is about as subtle as a sledgehammer.

On a more positive note, this film does have a few inspired moments. My favorite is a creative nod to the late Sam Kinison. So, if you like style over substance, this may be your favorite film of the year. If you prefer fully developed, complex characters, then you may want to skip this.

If you go to this movie expecting something it isn't, you will be disappointed, as with any movie. This movie contains what Hemmingway described as the "iceberg effect". On the surface, its simply a cache of random movie clips smashed together to make a movie. If this would be written in a book, it would be a short story, because the action in the movie is very fast paced, and unless you actually try to catch it, the reasoning behind the plot (along with some subtle foreshadowing) can very well pass you by. Definitely a movie you will have to see twice in order to fully appreciate. Experimental Cinematography barely describes this movie. The camera-work and post production add much to the overall flavour of the film, making it quite artistic at some points and open to interpretation at others (something to be desired in American movies as of late). Although, at some parts it may get a little raunchy, gruesome and too heavy for some audiences, the movie never becomes completely unrealistic. The only aspect of the movie that I would write off as "needs improvement" is the soundtrack selection. No movie is ever good without a fitting soundtrack, and although the soundtrack is quite fitting, the opening is a little too long, and the other rap songs in the film really could have been replaced with something more appropriate (heavy, grungy rock or psychedelic electronica would have made this film a real trip). The flooding of imagery and dynamic... color palettes adds another "artistic" aspect to it, also combined with the events that happen throughout the film, this is not a movie you can miss any part of and still understand. However, that also makes it much more of a desirable film to watch, and not one you'll quickly get bored of. 8.5/10