Surrounded by numerous financing problems that affected its production and its international shooting, the latest film by maestro Brian de Palma , which now arrives at Movistar and Filmin after a very discreet theatrical release, is capable of showing the best and the worst of a filmmaker who years ago left the Hollywood circuit, where guys like him no longer have a place, to search halfway around the world for the money to continue putting up those films that, despite being attached to their time, no longer seem to interest in its forms nothing more than those nostalgic for that free, baroque and audacious cinema of the seventies and eighties.
The best thing continues to reside in his innate ability to come up with daring, ingenious and outrageous set pieces in which to demonstrate his choreographic , rhythmic, staging and staging skills, always with one eye on the tribute and the other on the possibility of go a little further than before in your exploration of the new imaging devices. In Domino , a police thriller based on an Islamist terrorism plot, we find at least three memorable sequences(and failed) that show the talent of the director of Carrie, Impact, Body Double, The Untouchables or Femme Fatale, namely, a night chase across the rooftops in the purest style of Vertigo, a split-screen terrorist attack and game of technological point of view and the operatic sequence in the bullring of Almeria with man-bomb and remote-controlled drone.
Just for those three moments, it would be worth saving a film from burning that, however, shows all its weaknesses in a script that, despite the sarcastic tone about the American secret services, terrorism or private jokes about the world of moviegoers, does not stop accumulating cliches and stereotypes in order to reach the port of its stellar moments, filmed under the light and colors of the masterAlcaine and to the rhythm of the second-hand music and always past the thread of Donaggio .
We do not know for sure if the result of circumstances, haste or mere disinterest, here De Palma escapes all control over the interpretations of his European TV movie cast and over any dramatic circumstance that has to do with private and sentimental lives of its characters, reduced to mere motors of the plot. That is, yes, the momentary constancy, sometimes dazzling, of his unmistakable visual inventiveness , those advances, close-ups, close-ups, watermarks and designs that continue to confirm him as one of those great stylists to whom the narrowness of production does not always feel good. .

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