Domino

Domino ★★★★½

My opinion on vulgar auteurism as a movement is complicated, to say the least. Judging what movies count as "vulgar" auteurism and what movies are just regular auteurism is difficult, especially considering how much overlap there is between these two sides of the same coin. Despite that, if there was one filmmaker who I would consider to be a vulgar auteur through and through, it would be Tony Scott. His movies are loaded with idiosyncrasies, but those idiosyncrasies are ones that utilize studio backing and budgets in such a way that the result feels like it is an undeniable part of the movement. Out of the four movies I've seen from him so far, Domino was easily his most vulgar, as it takes the woozy, hyperactive editing of Man on Fire and cranks it up to eleven, all while painting over it with heavily saturated yellows and greens.

Domino is chock full of pretty much every editing trick in the book, and watching it both reflects the amount of drugs these bounty hunters were on while also feeling like you're watching Tony Scott gleefully experiment with the possibilities of digital as a new medium. While Scott's approach to direction here in Domino was definitely a huge part of the film's sense of chaos, I don't want to undermine how well the different aspects of the film work alongside this impenetrable style. The action and suspense greatly benefit from Scott's use of quick-cutting and double exposures, and there were even some scenes that felt oddly mystical thanks to how they were edited, especially Tom Waits' cameo. I honestly loved Domino a lot, and I really can't wait to keep watching Tony Scott's movies.

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