Domino

In his crowning achievement, Tony Scott crafted a crazy story inspired by the wild life of a real-life bounty hunter as an impressive trip that induces in the audience a heightened perception of the over-the-top narrative. With variable shooting speeds, an unusual process of developing material, an epileptically roaming camera and frenetic editing, Scott transforms the movie screen into a kinetic image in which the structure and matter of the film become visible and tangible. Richly coloured shots stacked on top of each other and camera movements become the equivalents of massive coats of paint and brushstrokes, alternately evoking the paintings of the Fauvists, Futurists and German Expressionists. (20/01/2015)

... alternative title: How I Became an Epileptic and Had a Great Time into the Bargain. Tony Scott decided to make a two-hour-long music video. And he did a splendid job. Stylized to the brink of tolerability, but luckily not over it. If it were sensitively cut (in length, not in terms of editing as such), the result could have been even better. (13/08/2006)

Domino is a film with many faces, its over-the-top sun-soaked stylization and fast editing only enhance Scott's style, but this particular piece with the incredible Keira Knightley resonates with about 3 out of 10 people. Definitely an unforgettable thriller that unfortunately starts to become boring over time, but still surprises with many unbelievable shots... 6/10 (18/06/2016)

Domino is certainly like its empty trailer, but stretched out to a two-hour runtime. It is such a chaotic, visually self-obsessed and, in that context, inordinately long movie that I have no interest in even going over what happens in it (which is what the filmmakers require you to do!). However, it is saved from being a complete fiasco by decent casting and a fair amount of humor. (07/12/2005)

Under different circumstances, I would be willing to watch Keira Knightley even in unintelligible nonsense, but unfortunately, this one fails in every way possible. The situation it portrays is unbelievable, the camera shots are unbelievable, and due to its nonsensically exaggerated stylization, it even looks unbelievable. Nor did Tony Scott hit the mark when it comes to the criticism of his excessive visual softness (meaning the occasional rational editing) in Man on Fire. Shaky camera and plenty of filters or zooms are great ideas, but for me, it's an unwelcome novelty to have my eyes hurt even while looking at a goldfish. If it wasn't for Christopher Walken, I would have rated this even lower, because this is not the hit that was promised but a fit of awkwardness, which only makes me shake my head and fail to understand the claim of postmodernism. (07/03/2006)