By Ryan Parsons | Image property of New Line Cinema
Domino
The upcoming thriller from Tony Scott, Domino,
has had one interesting ride in order to get to its release date in October.
First the film was pushed back, then the character that the film was based
upon [Domino Harvey] passed away, then the film was pushed forward, Scott
balked, then the film was pushed back. And now here we are, just under two
weeks away from the release of the film without a single early review until
now.
Domino Review
The good people over at AICN
have recently got a post from a person who has managed to check out the
finished version of Domino. In the review the person admits that the film
features entirely cutting-edge cinematography as Scott applies techniques
used in film, music videos and even commercials.
Domino is one hell of an ass
kicking thrill ride that blends the stylish look and feel of Man on
Fire with the frenetic, interwoven chaos of True Romance. And much
like True Romance, Scott tapped a young talented writer with an
indie cult hit under his belt (Richard Kelly) to weave his most subtle,
layered film to date. Rather than merely telling the typical “based on a
true story” glorification of an interesting character, Kelly decided to
write a script that was part truth, part hyperbole and part complete fucking
bullshit, crafting a mythic modern legend that never for one minute pretends
to be anything resembling the way it really was. Right from the beginning
Domino tells you she’s going to lie and she’s even kind enough to remind
you of that fact at the end.
Is it Tony Scott’s best film? I don’t know.
Domino demands to be watched again and I’ll gleefully do that now
that the initial shock of its cinematic blitzkrieg has faded. I’ll say that
it’s certainly smarter and sharper than any of his previous films and might
possibly become one of his most reviled. But it is fast becoming one of
my favorite Tony Scott films.
Domino
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