Brian De Palma is still himself, in a way, with 'Domino': NPR

In one of his first (and best) movies, the cult musical of 1974 Ghost of paradisedirector Brian De Palma spoke of a self-fulfilling prophecy, telling the story of an artist whose personal vision is co-opted and marketed by industry decision-makers, while he is dedicated to haunting the heights. And for nearly four decades, De Palma has been very popular in Hollywood, squandering the goodwill of big hits like Carrie, The Incorruptibles, and Impossible mission with movies like Fury, Victims of war and Snake-eyes. In the end, the studios simply stopped producing the evil Hitchcockian thrillers and satires that made up the director's stock.

Without funding in the United States, De Palma has spent most of the current century looking for money in Europe, a place that is more hospitable, more creative, but less reliable in terms of production and distribution. While his 2002 thriller Femme fatale played delightfully on Hitchcock fear of heights and neo-black trash like Primary instinct, his angry 2007 experience redacted was an underfed attempt to update Victims of war for Iraq; and Passion, its rather brilliant and banal English language version 2012 of French success Crime of love, was mainly mixed with video on demand.

Now, De Palma has issued warnings about his new movie Domino, a Danish production which he claims did not come from, it is the most horrible film set that he has ever known. And there is plenty of evidence of a patch job here, especially as the film is actively borrowing a confused plot about the conflict between the Danish police and the CIA over an ISIS brain. The sequences that pique the interest of De Palma and those that do not are both thrilling and painfully obvious, but fans of the work of the director might be surprised at how his sensitivity remains intact.

Satirist always underestimated, De Palma encloses the concept of terrorist as a filmmaker as well as the meticulous staging and orchestration that turns beheadings and suicide bombings into propaganda art. With cameras attached to machine guns and remote controlled drones and headphones distributed among his crew, ISIS leader Salah Al Din (Mohammed Azaay) is no different from Francis Ford Coppola seated in front of a bank of screens in his caravan. One of the heart, giving direction to his actors and his team. For De Palma, cinema can be a deadly art.

The hunt for Al Din begins with a murder in Copenhagen. Nikolaj Coster-Waldau, best known for playing Jaime Lannister on Game of thrones, plays the role of Christian, a policeman who makes the fatal mistake of leaving his gun in his apartment. In a superb sequence, Christian and his partner Lars (Soren Malling) respond to a distress call in a building, but when Christian borrows Lars' rifle, he leaves him helpless in the face of the suspect's attack. they apprehend. This suspect, Ezra Tarzi (Eriq Ebouaney, of Femme fatale), is under the influence of Al Din, who kidnapped his family and forced him to do many operations.

Although suspended for negligence in his work and banned from pursuing the crime that leaves Lars hooked on life, Christian still pursues Tarzi and Al Din, joined by Alex (Carice van Houten, another Throne Games veterinarian), who was Lars's secret lover for years. In addition to the administrative hurdles that prevent them from reaching their goal, they are also facing the challenge of Joe Martin (Guy Pearce), a CIA officer who does not want that one target of the year. Al Din's importance be left to Danish justice. His trump card is Tarzi, which he captured and activated for his own operation, turning the suspect into an unwilling double agent.

What a short time Domino Isis' ideological motive makes them crude, like the naughty snickers of a generic terrorist thriller of a decade ago. De Palma does not care about the geopolitics and relations between Christian and Alex and the affair that has changed their lives. His actors also seem completely blocked by his indifference, in case someone would marvel at a Game of thrones reunion a few weeks after the final of the series. De Palma always strongly emphasizes the themes and settings that matter most to him, but he rarely has so many scenes of yadda-yadda-ed.

Still, there are two or three terrific clips for the star movie, starting with the failed arrest at the building, in which Christian sues his suspect on the roofs and hangs the gutters, and ends with a final in a bullfighting ring. As two different law enforcement teams embark on a multi-faceted terrorist plot, monitored and directed through small cameras and screens, De Palma gets to work, creating suspense about several action plans. For him, modern terrorism is the ultimate example of the film's complicity in violence, with the camera as a tool of destruction and recruitment. Domino may be a fan-only proposition, but at these times, it's obvious why he has fans.