Tony Scott's latest film is loosely based on the life of British model-turned-bounty hunter, Domino Harvey. Don't be fooled into thinking this is a factual tale though, because although parts of the story are true, this film is unashamedly a work of fiction at heart.
The made-up story, therefore, follows Domino and her crew (including Mickey Rourke and Delroy Lindo) as they try to recapture ten millions dollars that was heisted from an armoured vehicle. The plot thickens when the FBI, a mob boss, a reality television crew and the Department of Motor Vehicles become involved too. If it sounds a little unusual and confusing, that's because it is.
The Knightley does a bang up job of keeping the audience entertained as the ass-whooping Domino, although she retains her usual plumy English accent throughout, which some might find pretty irksome. It's also annoying that Mickey Rourke wasn't given a larger part to play.
Tony Scott, the less famous brother of Ridley Scott, is a pretty good director in his own right. From his early films like Top Gun and True Romance through to his latest fare, his films are never boring. Lately, in films like Man on Fire, and to a lesser extent, Spy Game and Enemy of the State, he has been experimenting with a really interesting style of editing. He blurs his shots, overlays zoomed in shots and moves between shots all at a dizzying pace, which is great to watch and ups the pace of the film considerably.
In Domino, I think Scott has finally taken this technique a bit too far. He hit the balance nicely in Man on Fire, but here it's no exaggeration to say the entire film is done in this style. It does prove itself an effective way to keep the action going for two full hours, but it also means you are continually wondering where the story is going or what is motivating the characters. The experience is really like watching a two-hour trailer.
However, if you're after an action fix or you just want to see a bad ass Keira kicking down doors and swearing at criminals, then this is the film to see.