Domino

Igual que el avance, pero en un paquete de dos horas. Una película tan caótica, visualmente ensimismada y, en su contexto, larga de una manera poco sana, que yo ni siquiera estaba motivado o interesado en ocuparme de lo que ocurría en ella (¡y es lo que los realizadores nos exigen!). Pero se salva de un fiasco total gracias a un reparto decente y a una buena dosis de ingenio. (07.12.2005)

Under different circumstances, I would like to see Keiru even in unintelligible nonsense, but unfortunately, it fails in every way here. It unbelievably portrays the situation, unbelievably shoots, and due to its nonsensically exaggerated stylization, it even looks unbelievably. Tony Scott didn't hit the target either when it comes to the criticism of his excessive visual softness (meaning occasional rational editing) in Man on Fire. Shaky camera and plenty of filters or zooms are great ideas, but for me, it's an unwelcome novelty to have my eyes hurt even when filming a goldfish. If it wasn't for Christopher Walken, I would go even lower, because this is not a promised hit but a complete awkwardness, which only makes me shake my head and fail to understand the claim of postmodernism. (07.03.2006)

It’s about three and a half. Unfortunately, the very decent script, the surprisingly believable Knightley and the unearthly badass Rourke are ruined by Scott's mania over his video clip skills, overuse of colourful fitters and a hyperactive editor's hand. Had it been put into the hands of a slightly more artful filmmaker, it would have been a little great film. (21.03.2006)

In his crowning achievement, Tony Scott crafted a crazy story inspired by the wild life of a real-life bounty hunter as an impressive trip that induces in the audience a heightened perception of the over-the-top narrative. With variable shooting speeds, an unusual process of developing material, an epileptically roaming camera and frenetic editing, Scott transforms the movie screen into a kinetic image in which the structure and matter of the film become visible and tangible. Richly coloured shots stacked on top of each other and camera movements become the equivalents of massive coats of paint and brushstrokes, alternately evoking the paintings of the Fauvists, Futurists and German Expressionists. (20.01.2015)

... alternative title: How I Became an Epileptic and Had a Great Time into the Bargain. Tony Scott decided to make a two-hour-long music video. And he did a splendid job. Stylized to the brink of tolerability, but luckily not over it. If it were sensitively cut (in length, not in terms of editing as such), the result could have been even better. (13.08.2006)