Keira Knightly, Bounty Hunter: "Domino" trailer (1 Viewer)

[hanson mat]

Being that the real Domino just passed a few months back - I would assum that will generate some interest in this one. I however - probably won't see it.

 

[Brook K]

I like both trailers or maybe it's just Keira. I'll see Pride & Prejudice for her too.

Parts of it also remind me of that hilarious "Hawk the Bounty Hunter" show and I liked aspects of Man on Fire so I'll give this a shot.

 

[Wayne W]

I might be alone on this, but the film looks great to me.

 

[rich_d]

Yes she is fine.

But whoever thought it was a good idea to have her repeat "I am a bounty hunter" untold number of times in the trailer (I saw) should be shot.

 

[Nathan V]

One thing's for sure, this won't be like anything we've seen before. Scott describes it as "Taxi Driver meets the Royal Tenenbaums." Definitely not a genre picture.

As a photographer, Tony Scott's new style is intoxicating to me. I can't get enough of it. I never thought someone would explore the creative possibilities of subtitles, or learn how to incorporate multiple exposures, hand-cranking, cross-proccessing, and reversal stock into a narrative film. And keep in mind, it's all done by hand! On Man on Fire, his DP would rewind the film negative on the spot for the double and triple exposures!!!

So basically, yeah, I'm stoked for this one.

Regards,
Nathan

 

[Holadem]

I dunno, sure as heck looks likt to me.

I am normally a Tony Fan, I count Crimson Tide and Ennemy of the State among some of the very best flicks of their respective genre. I enjoyed Man on Fire as well.

But man this movie looks like total garbage. This trailer without the Tony Scott name would make me run the other way.

I'll wait for reviews, and will be shocked if this turns out even decent.

--
H

 

[dailW]

they keep playing the trailer on HD NET.i thought it was to be out in august. then they pushed it back but if its coming out by the first of the year i cant see it doing any business at the b.o. the trailer looks like crap tony we get it you like the green look .stay away from the green look and the quick editing your a better director than that

 

[Patrick Sun]

Well, even though I knew I'd be in for a mess of garish colors and spastic quick cut (that make you wonder if a monkey was at the helm of the Avid machine), I still saw this movie.

The plot and all the twists and turns are a bit of fun, but Tony Scott's style just undercuts a lot of the irony/comedic moments with all the jump-cutting and timeline jumping. It's like Scott doesn't trust the audience to be able to concentrate on simple bits of storytelling and is compelled to throw in 5 quick cuts for scenes that require none.

The secondary characters are all under-developed, turned into stereotypes, and are simply there to drive the plot along in a story that thinks it's more clever than it really is.

If you think you can endure a seizure-inducing editing job, and are looking for something violent and fluffy, this might make for a good matinee viewing.

I give it 2.5 stars or a grade of C+.

 

[Ray H]

I just saw it got 2 thumbs up from Ebert & Roeper, but I don't know. It sounded promising, but Tony Scott's style looks headache inducing and it seems pretty bland judging from the trailers and ads. There's Keira Knightley. She's a bounty hunter. There's Christopher Walken. There's "blacktino." What the hell does this all have to do with one another?!

 

[Kyle_D]

Caught this yesterday along with Elizabethtown.

I'd say the movie does exactly what it sets out to do. It's an overstylized "fuck you" type of movie about a "fuck you" type of character, with about the depth of the phrase "fuck you". It's got its charms, Tony Scott's style fits well with the subject matter, and in two weeks I probably won't remember anything that happened in it.

 

[ZacharyTait]

Huh. Interesting. I did the same thing on Friday.

Shallow stuff first: Keira Knightley. Yummy!

Sure, it was over the top and in your face, but I enjoyed it. Mickey Rourke proves that he is back, with this and Sin City. Hopefully, he'll get more work.

The best part was the Jerry Springer part. I was laughing my head off through the whole thing.

I liked how the story kepy contradicting and correcting itself. Some might find it annoying, I found it endearing.

Hopefully, someday, I won't ever have to throw a knife through a car window, but that was awesome!

 

[mattCR]

The racial mixing chart may have been one of the funniest things I have seen in a film in a long time.

 

[Nathan V]

You guys are gonna kill me.

I really liked this movie.

My feeling while watching Tony Scott's film about his good friend Domino Harvey was that Tony Scott, now 61, has finally come into his own, after years of making mediocre to average thrillers, has finally discovered a style that no one has ever even thought about doing. I remember reading interviews with him years ago, talking to Mike Figgis, he'd be musing, "I'm always trying to find new ways to shoot action. You know, action's been done to death." Well, he more than succeeded in his goal: he's found a new way of seeing. He almost comes close to wrecking the movie, but that's fine. I said almost. His enthusiasm for the medium is infectious; one can feel him thinking, "why the hell not? no one else has ever done this!" Before Man on Fire, I didn't think there was a way to incorporate non-stop hand-cranking and multiple exposures into narrrative film. And on top of that, we have bleach bypass, black-and-white, wild changes of film speed, aperture, and shutter speed, often within the same shot, 16mm, reversal stock, underfixing film, supersaturation, and more match action than Oliver Stone and Michael Bay combined. Tony Scott has created what is arguably the most high-impact visual and aural style in cinema, ever. I was waiting for the film reel to bloody well explode. And the fact that he accomplishes all this by hand, with no digital sprucing (aside from the subtitles) at all, is extremely impressive Check out the Man on Fire extras. This is a serious development in film, and is nothing to sneeze at.

Scott's only applied this technique to two scripts, both of which are suited very well to the approach. The sprawling, massively unfocused plot matches well with the go-for-broke visuals. In interviews and commentaries Scott is quick to say that the style emerges out of the story ("I'll look at a scene and ask, 'This is the emotional center of the scene; how can we best amplify that?'"), and is not used simply to be hip, or cover up script problems. I actually thought Richard Kelly's script had a fair amount to say about the breakdown of the nuclear family system and what would/could replace it, the inescapable and pervasive qualities of American popular culture, as well the choosing of fringe/outcast society as the one thread that holds the myriad characters together; these are characters that never get their proper screentime in hollywood movies. Domino is like a four hour squeezed into 2 hours; the physical elements of the story are just barely explained; one leaves the theatre thinking more about theme, character than story. Or you might be wondered what the hell the story was I can certainly see how Tony Scott's new style might be disagreeable; he makes Baz Luhrmann look like Todd Field. He goes so far past mainstream that he practically comes out the other side; Domino is almost an avant-garde picture. And although it supports the content, it's so interesting in it's own right (at least to me, I'm a photographer) that it's impossible to keep up content-wise, or vice versa, especially with this film, which has both a complex form and complex content. I also have to say I really enjoyed the three central characters, and the dynamic that existed between them. Keira Knightley's and Mickey Rourke's performances were extremely enjoyable.

I don't expect anyone to enjoy this film at all. Of late I've been having a tendency to be drawn more towards "interesting" films by strong directors than before. (bringing out the dead, Ali, alexander, thin red line) Probably the reason I like Domino is bacause of my passion for photography, and to see a fellow artist really going for the edge, trying everything out, seeing methods I've tried out in darkrooms and never thought I'd see on the big screen.

To each his own,
Nathan

Here is some additional info on the film, for those who are interested:

Tony Scott interview: http://entertainment.timesonline.co....799982,00.html

Article about the film's cinematography: http://www.uemedia.net/CPC/directors...le_13765.shtml

Roger Ebert's 3 star review: http://rogerebert.suntimes.com/apps/...VIEWS/51005001

 

[Kyle_D]

 

[Nathan V]

Whoops! My bad. Thanks for pointing that out. I have updated my post. I beginning to wonder how the hell they made it for that little

Regards,
Nathan

 

[Scott L]

I was really hoping this movie would get more love from the critics. For some reason ass-kicking heroines w/ attitudes appeal to me. :> From the previews, Knightly pulls this character off nicely. Other actors like Jen Garner are barely believable, doesn't have nearly enough grit.

But yea, it will take some major persuading to get a friend to spend $9 on this flick. :

 

[Paul McElligott]

Just saw this last night. Somewhere, there is a meth-head for whom this movie made perfect sense. For the rest of us, it's equal parts goofy, dumb fun with a style that's like being zapped in the eyes with drain cleaner.

 

[Scott L]

Never did catch it in theaters so this was a blind buy for me, ended up being better than expected. Loved the last gun fight scene.

Oh and btw, the DVD is horrible, not quality-wise but feature-wise. Only 1 teaser & 1 trailer, plus the menus seem thrown together in one day. Hope DVD sales make the studio think about re-releasing this one, maybe on blu-ray

 

[Brook K]

They had me at Ian Ziering I'm not as enthusiastic as Nathan. I saw it more as a C/C+ script that Keira Knightly really sells with attitude and is enlivened by casting to type and for the most part letting each actor run with their persona.

Scott, the DVD I got from Netflix included a commentary, deleted scenes (they scandalously cut Ziering's funniest material "I have $10 million in the bank and used to have sex with a Playboy centerfold every night...sometimes twice a night"), a doc on "the real Domino Harvey", and some other doc on Tony Scott's style I didn't look at plus the trailers and whatnot. And DTS-ES

 

[Nathan V]

Glad to see some people besides me and Roger Ebert liked this. The film is certainly much more comprehendable on the small screen. I must say that seing the film in theatres was somehting of an endurance test. Upon second viewing, there is definitely more to Richard Kelly's script then meets the eye- the Jerry Springer scene, which I had questioned the purpose of earlier, now appears as a cornerstone for the film's message of embracing and recognizing those members of society that are unrecognized or reviled (i.e. most all the characters in the film). And the fact that all the action of the story points to helping the cause of an overwight poor black woman, arguably the (at least for a long time) least advantaged "category" in american society. In this respect the film advocates the creation of a "new" family, one much more inclusive and evolved from the nuclear family that is broken down in the film's earlier moments.

I think it's the exhilerating, enthusiastic but professional audacity of this film that makes it so infectious for me. The fact that Scott is no rank amateur, and that he's so excited and interested in improvising in such a risky manner. And Domino Harvey's preference for lower-class people is something I can definitely identify with.

Here's some other stuff I wrote in the "time to throw down" thread-

"Although there is subtext here, Domino functions primarily as visceral entertainment. This is a film that must be seen twice- once for its sheer visual audacity, and once to comprehend its sprawling, convoluted story. The acting by all present is good, with the performances and sense of camaraderie between the three leads being excellent. Knightley in particular is superb, perfectly embodying a character quite different from her typical dainty self.

I can certainly see how Tony Scott's new style might be disagreeable; he makes Baz Luhrmann look like Todd Field. He goes so far past mainstream that he practically comes out the other side; Domino is almost an avant-garde picture. And although the style supports the content, it's so interesting in it's own right that it's impossible to keep up with the content or the style, especially with this film, which has both a complex form and complex content. Nevertheless, I urge all those interested in cinematography and the advancement of film as art to check this film out. If ever there was a movie that warranted repeat viewings, it was this one. The amount of visual information conveyed here cannot possibly be expressed in words. If you blink, or look down even once while watching Domino, you're liable to miss something."

Scott, I thought the dvd (which was produced by Charlie D, the man behind the Ridley Scott dvds) was terrific- two commentaries, 2 featurettes, deleted scenes, excellent audio and video...I'm glad New Line takes the time to make special editions of lower profile films like this and history of violence (another masterpiece).

And just so you guys know I'm not crazy, here's the rest of my top ten, in very loose order-

New World, Munich, History of Violence, 2046, Constant Gardener, Batman, Domino, Syriana, Brokeback, Good night.

Regards,
Nathan