Film Review: Brian De Palma’s ‘Domino’
Brian De Palma has used the Italian film composer Pino Donaggio on and off for over 40 years, ever since their first (and still greatest) collaboration, “Carrie,” in 1976. Donaggio, with his lushly purple neo-Bernard Herrmann dissonant extravagance, is to De Palma what Angelo Badalamenti has been to David Lynch: a composer of rapturous dread-infused […]