Director Tony Scott has always had a clear influence on the camera in almost all of his projects. Sometimes being labeled burdensome, other times genius, Scott’s sporadic movements and burned-film aura defined his identity in Hollywood. Just as evidence of his touch was in “Man On Fire,” “Domino” is an artist’s masterpiece. His gritty realism and gory portrayals of the “sort of” true story of Domino Harvey, a drug-ridden female bounty hunter from Los Angeles, brings together one of the most eclectic casts in years and busts all character expectations.

“Domino” is the tale of the twenty-something rebel as she joins forces with Ed Mosbey, played by Mickey Rourke, and Choco, played by Edgar Ramirez. Soon after, the seedy trio’s violent tactics in hunting suspects attracts the attention of reality producer Mark Heiss, played by Christopher Walken, who is interested in giving their brute force a spotlight on television.

The rebellious squad is soon faced with consequences of unknowingly detaining the sons of a mobster suspected in an armored truck heist.

With the mafia and FBI on their heels, Domino and crew must survive their ultraviolent ordeal as 90210 alumni Brian Austin Green and Ian Ziering, TV vans and ever-present camera crews slow them down.

What is even more impressive than the visual roller coasters in Scott’s films is his ability to seamlessly piece together numerous stories and time lines into one fabric. Using strategically placed flashbacks, visual foreshadowing and interconnectivity that puts the structure of “Memento” to shame, the stories of angry mob bosses, a woman’s fight for her granddaughter and the intimate story of Domino are sculpted with his experienced judgement.

Another delightful surprise is Scott’s ability to pull talent from all dimensions of Hollywood. American beauty Mena Suvari carries Walken’s coattails, soul artist Macy Gray robs an armored truck and old school hardass Tom Waits makes a surreal appearance as a minister wandering the desert.

It’s extremely interesting to see all of these recognizable faces, especially the 90210 stars, creating characters that are unlike those in any project they have ever undertaken. It leaves plenty of room for a wise director like Scott to manipulate audiences’ preconceived notions and make for one hell of a show.

Scott’s poetic imagery would not have been half as powerful if he hadn’t devoted all the time he had to Domino’s back story.

His vision is a brutal and emotional tribute to the fragmented life of the late Domino, who died last year of a drug overdose in her bathtub.

Her real-life death helps build a connection between Knightley’s character and the audience, as her story reminds us that even a girl of her grit was still susceptible to our frail mortality. It also destroys that imaginary barrier to the ultraviolent situations into which she was catapulted.

His profiling of this modern-day Billy Jean will set a precedent in Hollywood – it will create a standard of visual artistry and remind all of us what truly makes a great film.