It's the tale of a real person in only the most abstract, opportunistic way, since what Scott has done is to pin the scandal label of 'true story' onto his most fractiously vapid action film since Beverly Hills Cop II.
The problem with Scott's film and Keira Knightley's performance as the bounty hunter is its bored delirium, a daze of scattershot ennui that prioritizes hipster carnage and flashy cuts over intelligible storytelling.
The movie plays like the work of a self-impressed film student. It's ripe with strident stylistic flourishes, harsh atmospheric cinematography and superficial roles that allow cast members to scream their heads off. Either that, or get them blown off.
[Director Tony] Scott and screenwriter Richard Kelly turn Domino's life upside down, mixing tiny parts fact with heaping, heaving sums of fiction. But with a real-life story like Domino's, why all the fantasy?
Domino, director Tony Scott's hyperactive, roll-in-the-mud, blow-stuff-up and jiggle the cameras every which way extravaganza, is one of the most awesomely awful films ever made.
The only defense for Domino, the first-ever movie in a blender, is that director Tony Scott is pioneering a new form of cinema, in which the audience can never focus on a single object for more than a half second.
Scott means for his entertainment package to be hip, hysterical fun. But his stylistic embellishments and indiscriminate appetite for sensation crowds his title character right out of the film.