Domino movie4/30/2023 And the CIA, instead of just saying “thank you,” has for some reason decided to kidnap Ezra’s family in order to force him to… do the same thing that he was already doing anyway? Whatever - the clock is ticking and terrorist attacks are imminent.Īfter Wold succumbs to his wound, Christian feels compelled to do some avenging of his own. It seems that Ezra, hellbent on assassinating the ISIS unit that murdered his father, has followed the jihadists to Denmark in an effort to deal with them more efficiently than the American government ever could. They also find the blood-spattered killer, Ezra Tarzai (De Palma alum Eriq Ebouaney), who slashes Wold’s neck in a stairway brawl and flees from the unarmed Christian.Īt the end of the “Vertigo”-inspired chase that ensues across the city roofs, Ezra is abducted by a black ops CIA team (headed by Guy Pearce), who have very specific plans for their new detainee. Instead of an abused spouse, the two cops find a cache of explosives and the mangled corpse of an unidentified man. Gabrielsson) respond to a domestic violence call one night. Pointlessly set in the summer of 2020 (as if to declare its own prescience), the film stars “Game of Thrones” actor Nikolaj Coster-Waldau as Christian, a Copenhagen police officer who makes the fateful mistake of leaving his gun at home when he and his much older partner Wold (Thomas W. However, it’ll take an enormous amount of goodwill for audiences to take that seriously, because “Domino” packages its director’s focal point inside layers upon layers of basic cable trash, even as it boasts a premium cable cast. This may not be the future De Palma wanted, but it’s the one he’s been preparing us for. Primacy is subservient to virality the theatrical experience is just a marketing campaign for streaming content. No mere riff on the power of propaganda in the digital age, “Domino” is rather a kind of cheeseball reckoning with a world in which physical violence has become secondary to visual violence, where the death toll of a terrorist attack can seem less important than how it’s disseminated. Just ahead of its time when it was shot - and all too familiar by the time of its release - De Palma’s latest ruminative genre effort looks at how an old preoccupation is being transformed by new ways of seeing. “Domino” boasts exactly one compelling idea, but it’s an idea that De Palma has done well to anticipate, and one that he explores with all his signature relish: This is a movie about terrorism as a burgeoning form of cinema, and about terrorists as a sinister new breed of filmmakers. The Best Limited Series of the 21st Century, Ranked 'The Princess' Review: Rapunzel Meets 'The Raid' in Hulu's Exasperatingly Cheap Joey King Vehicle New Movies: Release Calendar for July 1, Plus Where to Watch the Latest Films ![]() After all, few things could be more damning than a De Palma movie that has more references to his own work than it does to Alfred Hitchcock’s. On the contrary, the most damning thing about “Domino” is that it reaffirms what all but the filmmaker’s most deluded fetishists have long since concluded: The world has caught up with Brian De Palma - his fascination with voyeurism and violence have been sublimated into the stuff of everyday life - and the guy is basically just circling the drain. Too much of the material is intact to suggest that some kind of late-career masterpiece has been lost along the way, and too many of De Palma’s fingerprints are still visible to believe that additional money or context would have yielded a substantive thriller that’s more than the sum of its parts. There’s little indication this low-rent, high-minded terrorism shlock ever had any hope of being a better film than the version now making its way to VOD and a few sad movie screens. But that’s the least of the issues with the final product. Brian De Palma’s “ Domino” was a troubled production story for the ages: underfunded, shot by the seat of its pants, and cut to ribbons without the director’s approval or supervision.
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