User reviews

I liked 'Domino' even though the movie felt like a total mess. Describing the plot would be as much help to you as saying there was a beginning and an end, so I might as well just do that. I could tell you that Domino Harvey (Keire Knightley), once a model, has turned into a bounty hunter under the leadership of Ed Mosbey (Mickey Rourke). Also part of their team is Choco (Edgar Ramirez), who looks like a Latino version of Val Kilmer. The movie also involves mafia, stolen money, a man with an arm detached from his body, Ian Ziering and Brian Austin Green from 'Beverly Hills 90210' as themselves, sisters named Lashandra and Lashindra, and a Jerry Springer-sequence that could have been a comedy short on its own.

I liked all of it for multiple reasons, its energy being one of them. The movie feels like one long music video, even more than films like 'Trainspotting', 'Go' and 'The Rules of Attraction' (funny how they all deal with drugs in one way or another), but it never becomes exhausting. It is one of those films where style over substance succeeds, maybe not in great way, but simply in a way. I also liked it for the actors. Keira Knightley is convincing as a tough girl, even more admirable after just seeing her as a naughty but delicate girl in 'Pride & Prejudice'. Mickey Rourke is back with extraordinary performance in films such as 'Spun', 'Once Upon a Time in Mexico', 'Sin City', and now 'Domino'. Not only them, but also Ramirez, Delroy Lindo, Tom Waits and especially Christopher Walken (as the producer of a reality show the team is doing) give the movie something extra to enjoy. It is exactly what this movie is, enjoyable.

My name is Domino Harvery. {EDIT *dizzying* CHOP} My--my--my name is Domino Harvey. {CUT, CHOP} My name is Domino Harvey. {EDIT. CUT. Playback}

Never have I seen a director take so much flack for his style before. By now it is evident that most people do not appreciate Tony Scott's choppy, flashy, dizzying editing technique. If I have to choose between loving it and hating it, I'd say I love it. It was borderline distracting at times, but the end result was pretty good and it's nice to see a director with a creative edge to his style and some originality (even if it borrows heavily from MTV videos).

This stylistic edge manifests itself as Keira Knightley plays the role of cocky badass bounty hunter Domino Harvey and even her dialogue seems strangely choppy. Otherwise she plays her poorly because I pretty much hated her character and did not sympathize one bit with her, no matter how much she suffered. We follow Domino through her life as she joins up with fellow bounty hunters Mickey Rourke, Rizwan Abbasi and Edgar Ramirez. The crew become tangled up in the FBI and suddenly has a reality show contract under Christopher Walken's TV production company (what is Christopher Walken doing in every film, by the way?). I guess that is a clever film technique, because now Tony Scott is free to use as much flashy MTV/Reality Show editing footage as he likes. It becomes a pastiche of MTV culture at this point.

It followes then that the story is told at an amazingly rapid-fire pace, with lots of raunchy strong language and gun violence. There are some funny jokes; it's all very modern and surreal at the same time. It's a mess, but it's a rather enjoyable mess. It is ultimately flawed in so many ways (the actors try too hard to make their characters "cool", for one) but it works. I give it a weak 7/10 which may seem generous when compared to the general consensus of movie-goers who graded this film — but I feel it had some good ideas and executed them well.

7 out of 10

Domino opens up with the title character being interrogated, and through the voice-over narration she informs us, "This is the part where I tell them to go to hell – that I'm not talking until my lawyer arrives." And two seconds later she tells the interrogating officer, "I'll tell you everything." This sets the tone and rhythm for the rest of the movie, and lets us know the narrative isn't afraid to contradict itself. Soon we jump to the setup of the film's ending, then we jump back to the beginning of Domino's story, and then we jump to an important plot point that won't come into play until twenty minutes later. Literalists and traditionalists, please stop watching the film immediately. So in the spirit of the film, I'll come back to this point in a little bit and probably say something completely different. If you're with me, you'll understand. If not, get lost.

Regarding the style: I never thought I'd see the day when I'd like a movie with a music video meets reality TV vibe. I've hated – no, scratch that – I've loathed films that would merely flirt with the idea. I've stopped caring entirely about plot/characters and any redeeming values because the style has driven me up a wall in those other films. Here, though, Tony Scott doesn't think twice about embracing it, and at first it didn't sit well with me as I remembered all the failures that came before Domino. But then something happened . . .

Mel Brooks, in describing his overboard ideas of comedy, once said, "What's the point of going all the way to the bell without ringing it? Let's ring the damn bell." Maybe my problem with this MTV/Reality-series style of film-making has been the fact that every other filmmaker was content to go part way – to just flirt with the idea – but here at last Tony Scott rings the bell.

And holy crap! When I started to listen it actually sounds good! Real freakin' good.

Perhaps another reason why it works in this film is because Tony Scott understands the potency behind each of a film's individual elements. And he's not content to let the music, editing, on screen performance, Kiera Knightley's voice-over, and on-screen text tell their small part of the story and work together as a whole; Domino uses each of its given elements to simultaneously tell their own version of the tale from beginning to end in its entirety. It's a full-on frontal assault of the senses and gives the viewer the feeling five people are telling their own interpretation of the exact same story at the exact same time – talking over one another, contradicting one another, interrupting each other, going back and correcting themselves.

You've heard of Howard Hawk's overlapping dialogue? Tony Scott gives you overlapping cinematic narrative elements. The genius and the magic is that Tony Scott masterfully maintains comprehensible order through all this narrative chaos, and somehow Tony Scott makes it all work.

Also, the film's stylization has another point behind – it serves as a reflection (dare I say an alternate, yet effective, means of character development?) for Domino Harvey, her attitude, and the world she lives in. This movie is not content simply telling us about the world, it's a part of that world too, and for two hours it wants to bring us there. Or to draw an analogy – you can listen to a book being read in a flat monotone or you can listen to it being read with different voices for each character, and the narrator gets up and acts out the story too. Domino goes that extra distance.

The plot? I'd be wasting my time if I tried. Domino Harvey is a former model turned bounty hunter. And the movie, itself, is an action-adventure thriller. You don't need to know anything more. The point of Domino isn't on the contents of the plot, the point of Domino resides in the style in which that plot is told (and it is told very effectively). Or in other words, a summarization is nearly pointless. If you need to "get" the plot, you're not going to "get" Domino at all.

Domino is a style, an attitude, a perspective. It's a film willing to tell its audience to either come along for the ride or get lost. Based on a true story? Kiera's voice over says it, "If you want to know what *really* happened . . . get lost!" (note: stated with significantly harsher language that IMDb doesn't want to accept in a review, but you get the idea.)

This was a pretty good action movie which I believe could have been better if the director (Tony Scott) hadn't kept cutting away to one scene after another. In my opinion this technique didn't help to enhance the film at all. If anything it gave it a choppy feel. Other than that though I thought the acting was really good. I enjoyed seeing Jacqueline Bisset (as "Sophie Wynn") who still looks like dynamite. Mickey Rourke ("Ed Moseby"), Edgar Ramirez ("Choco") and Delroy Lindo ("Claremont Williams") also performed quite well. Additionally, Keira Knightley (as "Domino Harvey") was excellent but it was Christopher Walken who was nothing less than sensational as the television producer named "Mark Heiss". He definitely gave this film an extra edge. At any rate, if you're wanting a good movie with plenty of action and humor then this is one you should definitely want to check out. I honestly think you'll like it.

DOMINO

Tony Scott has a very unique style, either you love it or you hate it. Personally I love it - you can freeze his work at any time, print out the image and sell it as art. It is beautifully shot. Domino is no exception.

Keira Knightley plays Domino Harvey - a beautiful, talented and deadly bounty hunter. She is perfect for the role, and shows us how far she can pull away from all her other roles (examples Bend it like Beckham and Pride and Prejudice). She truly proves that she can play one tough bitch, and I love it. The supporting cast works perfectly, Mickey Rourke and Edgar Ramirez have amazing chemistry as the lovably tough-ass bounty hunters and as always Christopher Walken shines.

The character development in the film is enough to really care for Domino in particular, as well as her team later on down the line. There is enough narration and flashbacks to know where she comes from and genuinely care whether she lives or dies. This connection with Domino definitely helps the story in its tense moments.

The movie is extremely fast paced, with not much time to absorb it all in the first sitting. Watch it two or three more times and you will appreciate it more and more. Playing at 123 minutes, it is the perfect length, not too long and not too short. The story needs as much time as it can get however to tell the lengthy true story, however Tony Scott manages to find a way to fit it perfectly in.

The soundtrack is extremely unique, with extremely cartoonish sound effects, but somehow it works. I don't think the soundtrack could have worked with any other film, there are hundreds of different tracks, but all fit the mood amazingly.

Why is this movie receiving so much bad publicity? Wouldn't have a clue, like I said before - it seems you either you love it or you hate it. This film has taken an amazing story, thrown in a whole group of amazing actors and then presented itself beautifully.

Go see this film for yourself, give it a chance - don't believe all the bad publicity. This film will have you on the edge of your seat from start to finish.

I give this film a 9/10 - I am in love with it. The only thing holding it back is the Jerry Springer scene, just doesn't seem right in a movie.

" Domino " has been widely condemned on this site for its frenetic editing style and " sickening " photography. It's detractors cite its superficiality and criticize its deployment of " style over substance" I couldn't disagree more. I believe that " Domino " represents the absolute height of Tony Scott's film-making career.

After having created the dominant Hollywood action movie style throughout the late eighties and early nineties Tony Scott has moved progressively closer to a more subjective style of cinema. As early as "Crimson Tide" Scott used his stylistic talent to portray the inner worlds of his characters- the claustrophobia and drama inherent in the conflict on board a nuclear submarine was embodied in the excellent use of long lenses combined with dutched-angle framing. This was then carried through to " Enemy Of The State" and "Spy Game" which visually represented the worlds of surveillance and espionage respectively.

" Man On Fire" was an extreme departure , a move into an expressionist more painterly aesthetic. Here Scott used an antiquated hand cranked camera and flash frames to express his character's explosive rage . Although not entirely successful it introduced the techniques which were to find their full expression in " Domino"

Couched in the framing device of an FBI interrogation " Domino" presents the life of the infamous bounty hunter via her narrated disjointed fragments of memory. She grasps at memories as we all do- in fragments, flashes and brief snatches. As Domino relays her story verbally Scott relays it visually illustrating not only the events which she describes but also the point of view which guides them. She does have " traces of mescaline" in her system but her individual vision is anyway Unusual -that of an woman who eschewed the life of luxury for bounty hunting.

It is when Domino begins to relate the events which lead to her captivity that Scott really lets rip. Together with Cinematographer Dan Mindel and composer Harry-Gregson Williams Scott orchestrates a postmodern canvas of contemporary Americana. Gradually we begin to realize that unusual though she may be Domino is no more disjointed than the "90210" culture she has rejected. As she wades through this cultural melange Scott makes his viewer more aware of the innocence which it destroys through the underprivileged children which the narrative introduces. Ultimately Scott portrays their salvation as the only escape we have from this surreal trip.

To criticize this movie for being overly stylized is akin to criticizing a Picasso or a Pollock for not representing that which is recognizably human. Like any great painting the meaning in " Domino" is in the surface and the surface is everything.

I am not in any way associated with Scott Free but have always been and will continue to be a huge admirer of Tony Scott's work

"Domino" uses some facts from the bizarre life of Domino Harvey, from English boarding school to Hollywood to model to bounty hunter, as an inspiration for a rollicking, violent social satire. Stretching from England to Hollywood to Las Vegas, it is photographed in exaggeratedly unreal processed colors by Daniel Mindel like "City of God (Cidade de Deus)," edited with a whirlwind structure, speed and popular culture and musical references like Tarantino, and filled with political, social and class juxtapositions and crazed characters like Elmore Leonard.

While it is like a music video on steroids, it is also a very funny send-up of many stereotypes, as commentary on health care, reality TV, racial profiling, immigrants, "Beverly Hills 90210" go whizzing by. And there's even a sweet, sexy love story that's squeezed in.

The truth that Domino was actor Laurence Harvey's daughter lets "The Manchurian Candidate" play in the background as a repeating leit motif about cultural mind control, with Frank Sinatra as a link to the plot turns in Las Vegas with the Mob. The violence is of video game-like exaggeration, as it's clearly over the top and sometimes even re-winds with different results as misapprehensions are cleared up.

Sometimes the social satire just goes on too long from the main plot, which already is so gloriously convoluted it has to be labeled and charted. Mo'Nique's rant on "The Jerry Springer Show" is not that funny and her cohorts later criticizing the ineffectuality of her appearance doesn't make up for it. (And celebrity first-name dropping is spoofed in the closing credits.) But the conceit of the bounty hunters being featured on a "Cops"-imitation reality show (much like the actual "Dog the Bounty Hunter" on A & E) produced by a relatively toned down Christopher Walken and hosted by bickering ex-"90210"er's Ian Ziering and Brian Austin Green sort of playing themselves is laugh out loud funny, especially as their RVs race across the desert. The concept of "celebrity hostages" is hysterical.

Because the film is being marketed as a Tony Scott action film for guys, the studio isn't promoting the romantic thread. But Edgar Ramirez is magnetic as Domino's lovelorn friend. Every time he pulls the rubber band off that pony tail and shakes his curly hair down, watch out! The camera appreciates his casual strip tease in a laundromat that may stoke quite a few straight women's fantasies, and is much sexier than Keira Knightley's lap dance.

As an action heroine, Knightley is much better here than she was in "King Arthur," partly due to the editing and that this character is more tense, pouty poseur than mover and shaker. She's particularly good in the interrogation scenes that frame the story as a series of flashbacks and justify the voice over narration, if not the echo chamber repetition. Lucy Liu is no Kyra Sedgwick from "The Closer," but her pencil sharpening ticks are amusing.

Mickey Rourke is pretty much playing his usual tough guy, but has some sweet mentoring scenes. Jacqueline Bisset is almost unrecognizable under her make-up as the ambitious mother and clearly has fun with the role.

The climax is an amusing fantasy but thrilling blaze of glory that brings together all the elements of a life that we know really ended with far less pizazz. The effort to tie in some reflection about fate and religion and goldfish doesn't quite work, but is visually entertaining as a way to try and get into her head and make her seem like a tough chick with a softie heart of gold. We get a brief glimpse at the real Domino before a memorial tribute to her.

The musical selections are integral to the pace and the humor and are selected for specific lines and rhythms, from hip hop to rock (you'll probably go out humming the chorus "Momma told me not to come!") and the closing Latin croon over the credits. Tom Waits has a cameo as a preacher who might be a drug-induced hallucination and lines from a couple of his songs referencing bounty hunters are included to good effect. Macy Gray sings on the soundtrack and is also funny in a small role, as good as she was in "Lackawanna Blues."

DOMINO is a messy film, one of the most overblown I've seen. It rattles along at a fair old pace, screaming and shooting, and director Tony Scott goes out of his way to make every scene, every frame even, as stylish as possible. It's a mess of choppy editing, over the top dialogue and people screaming as they shoot each other while a pumping soundtrack plays over the proceedings.

The huge cast come in and out of the storyline, about bounty hunters going after some guys who've stolen a massive haul, and it's all rather lightweight and nonsensical. The ensemble cast is good, but these are caricatures rather than real people, and larger than life doesn't really describe the huge egos and outlandish behaviour filling the screen. I've never liked Knightley, but she's probably at her best here, given the chance to do something other than period dramas; Mickey Rourke is gravely and tough, continuing the career rehabilitation begun with SIN CITY; Christopher Walken shines in a supporting role.

But the script is all over the place and the attempts at comedy sit ill with the main thrust of the story – long, unnecessary segments including the Jerry Springer one just drag the film down and scream self-indulgence. By the end, I neither knew nor cared about any of the cardboard characters in this headache-inducing movie, just longing for it to be over.

Heads you live. Tails you die. Her name is Domino Harvey. She is a bounty hunter. This unconventional film is based very loosely on the true unconventional life of the daughter of actor Laurence Harvey. Losing her father at an early age, Domino grew up with her mother and lived the good life as a rich girl, becoming a Ford model at one point. But she has always been the aloof social outcast, and tend to loathe the high life (Beverly Hills brat-packers) she has been brought up in. She doesn't mince her words, and packs a wallop of a punch too.

Chancing upon a Bounty Hunter job, she signs up with one of the best in the business, Ed Mosbey (Mickey Rourke) and his partner Choco (Edgar Ramirez). It's a totally different life from one in which she grew up in, but as she explained to Ed, she's in it for the fun and thrills. She's skilled with various weapons like automatic weapons, knives and the Nun-chaks, and fast transforms into an asset to her team, with "bra and panties on". Soon, the trio become famous in the bounty hunting arena (who wouldn't with 2 hunks and a gorgeous babe), as we follow them through their various exploits. They even have their own reality TV show Bounty Squad, which plays an integral part of the story.

The film starts off very intensely and jumps right into the action, before the audience is brought back to the beginning, and chronicles her life from the start. At times, this movie is deliberately filmed in 70-ish television series style, especially the classic opening credits with theme song, character titles, and plenty of images with scenes from the movie. Some in the audience, however, will not appreciate the characteristic MTV styled quick cuts used by director Tony Scott, and I do see him making more films using this style, with his previous films Man on Fire and Spy Game. The soundtrack for this film is vulgarly kinky too.

That aside, there might be many not comfortable with the narrative style used, with constant flashbacks, and even "reversing" what had been shown on screen, making it a tad confusing at times. For those who somehow not manage to stay attentive to the plot, you may get lost halfway through, as it involves many characters with various personal motivations, which culminates in an explosive ending. Satisfying at the end, but only if you're patient with the build up, just like one of Tony Scott's earlier movies (which I shall not mention, as it is similar in narrative structure).

A number of actors make their appearance in this movie, like Christopher Walken as a reality show producer, Mena Suvari as his mousy secretary, Lucy Liu as an FBI interrogator, even singer Macy Gray and veteran Jacqueline Bisset as Domino's mother. Take note however, that major comedic moments are provided in Jerry Springer's Show, and the early 90s TV series Beverly Hills 90210 contributing 2 actors Ian Ziering and Brian Austin Green to be has-been parodies of themselves.

Keira Knightley swears a lot in this film. A whole lot, different from when she first burst into the scene with Bend It Like Beckham. What's amazing is her ability to handle a tough-as-nails character, and the expressing of her emotions in totally different scenes, some sentimental, some sarcastic, some totally kicking rear. It's an eye opener too to watch her handle various deadly weapons with ease. She could well be on her way to marquee a film, though I felt in this one, she had the assistance of Mickey Rourke, and a good supporting cast, to carry this film through.

This film is dedicated in memory of the real Domino Harvey, who passed away earlier this year before the movie is released. The real her is seen at the end credits, where they feature the cast, and she makes an appearance as the last character, simply titled "Domino".

Such is the fictional story of an extraordinary life of an unconventional lady.

Tony Scott has never been a very good director, but every film he's made after "Crimson Tide" seems to bring him one step closer to being the inarguable worst working today (Michael Bay may fall into the same category, but at least his big, dumb, delusional epics entertain on some primally perverse level). And like other overblown Hollywood biopics ("De-Lovely" and "Confessions of a Dangerous Mind," for instance) chronicling the lives of pretentious, overrated, or outright shallow ciphers given an aura of "mystique" by a society that thrives on the juicy behind-the-scenes details, "Domino" is a film that begins with little potential, and dashes that infinitesimal amount before the sixty-minute mark. With an already-distended running time of 128 minutes, the film feels twice as long, and spending time with characters this obnoxiously superficial and forgettable (unlike the superior "Rules of Attraction," Scott's attempts to tinge the proceedings with irony via Domino's smug, self-aware-rich-girl voice-over only draws attention to the film's sledgehammer cluelessness) becomes an act only masochists could find pleasurable. The story? Spoiled-upper-crust-babe Domino Harvey (Keira Knightley, in an ersatz-badass performance as shallow as her gorgeous looks) is sick of the shallow lifestyles of the rich and famous in Los Angeles, and accosts gruff bounty hunters Mickey Rourke and Edgar Ramirez to learn a more exciting trade; along the way, there are double-crosses, shootouts, media attention (courtesy of a tongue-in-cheek Christopher Walken, phoning in his trademark sleazebag), and laughable hints at romance. Scott cuts the film together in segments that rarely last more than a few seconds, cranking up the resolution to make the film a neon-drenched nightmare that's frankly unpleasant to watch--if Scott's given an opportunity to shakily frame an image, ghost it, or distort it in some way, he will; but all this tacky stylistic overload overwhelms what little plot, characterization, and suspense the film has (to say nothing for its, ehm, "entertainment" value). Most of the characters come off as either contemptible or stereotypical, oftentimes both (observe the unbearable, several-minute segment where an African-American introduces a new list of racial categorizations on "Jerry Springer"), and I found myself wishing they would all get the "tails" end of our protagonist's coin by the end. "Domino" is utter, unmitigated trash--whatever interest in this individual Scott hoped to inspire in his audience, it is lost in a sea of migraine-inducing neon pretension a few minutes in.

I doubt much of this film is based on a true story. At the beginning it says based on a true story, sort of. I bet the only truth to it was there was an ex-model turned bounty hunter possibly named Domino.

Anyways, it begins with Domino talking to Lucy Liu, who works for the FBI. Domino is being interrogated about what she knows about a theft of 10 million dollars. Through flashbacks, we see Domino as a child, then as a model, and how she became interested in being a bounty hunter. She basically tells 2 other bounty hunters off, Ed and Choco. They let her join the group. She's tough, can use any kind of weapon, and will use her good looks if needed.

They get involved with a scam that Clarmont, a bailsman, has going. Along the way, the group starts a reality TV show, and that's where Ian Zering and Brian Austin Green become involved. They are sort of like hosts and must have been really desperate to appear in this.

I thought the story was entertaining and it had some laughs. The editing didn't bother me. There's also a lot of violence, mainly using guns, and blood. It could have been a little shorter.

FINAL VERDICT: Good enough to watch.

Domino Harvey (Keira Knightley) is a tough bounty hunter being interrogated by FBI criminal psychologist Taryn Mills (Lucy Liu). Domino is trying to recover $10 million of casino boss Drake Bishop (Dabney Coleman)'s money stolen from an armored truck. She lost her beloved actor father as a child and stuck with her gold-digging mother (Jacqueline Bisset). She got tired of her life and joins bail bondsman Claremont Williams III (Delroy Lindo), her tough boss Ed Moseby (Mickey Rourke), Choco (Edgar Ramirez) and their Afghan driver Alf (Riz Abbasi). Claremont runs the armored truck company. Lateesha Rodriguez (Mo'Nique) is one of his mistresses who is his inside girl in the DMV. Also the group is being filmed by reality TV producer Mark Heiss (Christopher Walken).

The movie starts off as an edgy heist story. I like the crazy visual style from director Tony Scott. Things are working more or less. It's overly complicated but I'm willing to follow. Then they pile on too much. The reality TV bit is the straw that broke the camel's back. Mo'Nique has a funny scene on Jerry Springer's show. Overall, there are just too many crazy things going on. I get tired of the random outlandish turns this movie makes.

If you go to this movie expecting something it isn't, you will be disappointed, as with any movie. This movie contains what Hemmingway described as the "iceberg effect". On the surface, its simply a cache of random movie clips smashed together to make a movie. If this would be written in a book, it would be a short story, because the action in the movie is very fast paced, and unless you actually try to catch it, the reasoning behind the plot (along with some subtle foreshadowing) can very well pass you by. Definitely a movie you will have to see twice in order to fully appreciate. Experimental Cinematography barely describes this movie. The camera-work and post production add much to the overall flavour of the film, making it quite artistic at some points and open to interpretation at others (something to be desired in American movies as of late). Although, at some parts it may get a little raunchy, gruesome and too heavy for some audiences, the movie never becomes completely unrealistic. The only aspect of the movie that I would write off as "needs improvement" is the soundtrack selection. No movie is ever good without a fitting soundtrack, and although the soundtrack is quite fitting, the opening is a little too long, and the other rap songs in the film really could have been replaced with something more appropriate (heavy, grungy rock or psychedelic electronica would have made this film a real trip). The flooding of imagery and dynamic... color palettes adds another "artistic" aspect to it, also combined with the events that happen throughout the film, this is not a movie you can miss any part of and still understand. However, that also makes it much more of a desirable film to watch, and not one you'll quickly get bored of. 8.5/10

Kiera Nightly moved straight from the P&P set to this action movie... she could hardly have chosen to remake her image more dramatically. A great success in Love Actually and as Lizie in Jane Austen's classic, she is, once again, "having a go". Just as her bikini clad warrier woman in King Arthur was more skin than muscle, it is difficult to imagine this delicate frame standing up to a bounty hunters life... but then this is exactly what Domino Harvey (the real one) did, and I (being one of Nightly's biggest fans) believe she carries if off.

Stuff....

* 90210 (for the non American world) is the post code of Beverly hills in LA, where all the film stars live. * Domino Harvey father's mostfamous film was Manchurian Candidate (which appears in the film). * Domino Harvey died of a drug overdose in her bath before the film came out in June 2005, after having been arrested for drug dealing. She had just completed the negotiation for some of her music to be inlcuded in the film. * Kiera Knightly alludes to Domino Harvey's sexuality in her interview with Lucy Liu.

If you find this film a bit far fetched, then check out Domino Harvey, as the facts are more amazing than the fiction.