Not So Wonderful Copenhagen… A Quick Take On Brian De Palma’s DOMINO.

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Domino (Denmark / France / Italy / Belgium / Netherlands, 2019). Directed by Brian De Palma.

Looks like Brian De Palma burned all his Hollywood bridges with Redacted (2007) and presumably his proposed Harvey Weinstein picture isn’t designed to rebuild any of them any time soon. Passion (2012) was a Franco-German co-production and his latest, Domino, sucked up tax shelter investments from several European countries, principally Denmark, where BDP experienced sufficient problems with producers to declare that this will be his first and final foray into Scandinavian Noir. The film recently crept out on disc in the UK without much fanfare and I was pleasantly surprised (also kinda shocked) when antisocial media pal @GIALLO_GIALLO advised me that it was available on Amazon Prime.

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So, what we got here? Things start promisingly enough when Copenhagen cops Christian (Nikolaj Coster-Waldau) and Lars (Søren Malling) roll up to a reported domestic abuse incident. Lars is running down the clock to retirement and talking about taking his wife on a Caribbean holiday, so no prizes for guessing what happens to him when the incident actually turns out to be a bit of jihadist score-settling. All this plays out as yet another Vertigo (1958) rehash and Christian’s guilt over his part in the death of a colleague, interacting with the motivation of Lars’ pregnant lover Alex (Carice van Houten) and machinations of slippery CIA man Joe Martin (Guy Pearce) promise much but ultimately, De Palma flatters to deceive.

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Lip service is paid to signature concerns such as media / message, scopophilia and the surveillance society (updated to include drones and facial recognition technology) and Pino Donaggio (above, with De Palma) delivers his mandatory Herrmannesque score but Domino lacks the kind of camera and editing virtuosity we’ve come to expect from BDP and packs just one significant set piece scene, at a Spanish bull fighting arena, where suspense is adeptly built then fizzles out with a well-aimed kick in the balls.

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De Palma seems to have reached that point in his career to which Dario Argento has been reduced for some time now. You know: Sleepless is better than The Phantom Of The Opera, but… Domino is a competent thriller on which you won’t begrudge spending 90 minutes of your time, but any amount of competent directors could have knocked it out. Snake Eyes, Femme Fatale and Passion, never mind Dressed To Kill, Blow Out or Raising Cain, would all knock spots off it.

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Would probably make quite a nifty double bill with Sergio Pastore’s Crimes Of The Black Cat (1972)…

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