Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
Vengeance knows no boundaries.
The Limey follows Wilson (Terence Stamp), a tough English ex-con who travels to Los Angeles to avenge his daughter's death. Upon arrival, Wilson goes to task battling Valentine (Peter Fonda) and an army of L.A.'s toughest criminals, hoping to find clues and piece together what happened. After surviving a near-death beating, getting thrown from a building and being chased down a dangerous mountain road, the Englishman decides to dole out some bodily harm of his own.
Soderbergh's overlooked gem. General Zod hell bent for revenge against the Easy Rider music mogul responsible for his daughter's untimely demise. A not-so-fat Luis Guzman sporting a Che t-shirt. A young and restless soap starlet takes a bath. A promise kept. A bodyguard takes a tumble. Bill Duke's eyes. Nicky Katt as Stacy the Hitman; playing pool and owning every scene just like he did as Clint in Dazed. A wicked climax. A justified conclusion. You don't fuck with Terence Stamp.
Terence Stamp gives it some welly stickin' it straight up the yanks like a true guv'nor. None of this muckin' about malarkey. He goes an' sticks the boot in where it 'urts. Bosh. Get in there son. See, Wilson is propa old shool, nawotimean? Got a bit of class about him like. Y'know, nice threads, lookin' sharp. A propa gent.
Don't think he's a mug tho. He'll steam rite in there and give 'em a couple slaps if needs be. Sort 'em rite out. You can't blame 'im can ya? You'd do the same wouldn't ya? Anyone 'urts the family they need to be sorted. Can't 'ave that. He didn't spend all that time doin' bird (lime - Time) for…
Steven Soderbergh's The Limey is a smooth and classy neo-noir, one that is enhanced by its lovely direction and its fascinating editing style. At its core, the film is all about revenge and the discovery of truth. It's pretty familiar and derivative territory in the Noir genre, but Soderbergh understands that. It isn't self-referential, but the film feels like a more scenic and serene detour of works like Taken and Point Blank.
The main draw here is the combination of the visual sense of place and mood along with Terence Stamp's exceptional performance. The film cuts, moves, and shifts back and forth into memories and future images that will unfold, giving a slightly thin story the profundity and mystery it…
Hmm, there's still a lot of work for Steven Soderbergh to do with me, I think.
The Limey is an American crime drama about a British bloke that likes to think it's made for Americans. I did wonder once or twice whether this was all deliberate, whether Terence Stamp was stomping around Los Angeles spitting out as much Cockney rhyming slang as possible to try and confuse as many Shermans as possible.
Unfortunately, The Limey didn't do enough for me to have enough faith in it that that was the case. It kind of spoils any such illusion anyway when it has a pointed conversation between Lesley Ann Warren and…
At its core The Limey is a good crime revenge film with good performances from Terence Stamp and Peter Fonda. The story is intriguing, there's quite a bit of gun play going on and there's even humor thrown in here and there thanks to Stamp's use of the Cockney rhyming slang. My favorite scene is when Stamp is talking to a DEA agent, going on a hilarious tirade about how to act accordingly. The editing and Stamp's performance make this scene really great. But the style employed throughout the movie is a bit too much for me. The editing is jumping back and forth to another scene while the sound (including dialogue) from the initial scene remains; or vice versa.…
Tell him I'm fucking coming!
Man I love this movie, one of the most important movies of my life, seeing this made me love Soderbergh, and you know how it goes from there. Between the Dobbs script and Soderbergh's direction a fantastically entertaining experiment in noir storytelling unfolds with a brilliant lead performance from Terence Stamp that breaks your heart by the time of denouement. Simply wonderful.
Shockingly similar to HAYWIRE.
Terence Stamp "buggers off to the 'States" and shoots a bunch of people. It's nothing larger or deeper than that, but it's perfectly fulfilling B-movie steak and spuds.
try watching this with the soderbergh commentary as you're falling asleep... trippy...
Lean as meat, potatoes and vodka, but then the meat has some fat, the potatoes are soaked in olive oil, and the vodka is Grey Goose.
sexy beast's little brother
Steven "fuck standard narrative" Soderbergh gets his Point Blank on. Style is supported (elevated) by Stamp, who regardless of the role, is able to convey a monologue's worth of emotion and information with a facial expression, and Fonda at his loosest and best. Dunno how much it adds up to, but it's a hell of a ride while it lasts.
REVIEW: The Limey
A Volatile British Ex-Con Makes His Way To Los Angeles To Investigate The Death Of His Daughter. Stylish and Introspective, The Limey Is An Odd, Moody Neo-Noir That Confuses and Dazzles Simultaneously. Terence Stamp Plays Wilson, The Main Character and His Performance Is Versatile. He Can Let Loose Moments of Coolness, Stoicness, Compassion and Violent Outbursts With No Trouble At All. Peter Fonda's Performance In This Film Is Dynamic. Like Stamp, His Ability To Transition From One Emotion To The Next Is Seamless. Lesley Ann Warren and Luis Guzman Do Good In Their Supporting Roles. The Direction By Steven Soderbergh Is Smooth, The Editing Is Includes Eccentric Juxtapositions That Didn't Always Work For Me and The Screenplay/Story Is A Smooth Yet Dark, Character Driven Crime Drama. Blimey, The Limey Is Robin Hood.
7.5 Out Of 10 On The Slate Scale
Terence Stamp oozes hard nut in this clever revenge flick by stylish director Steven Soderbergh.
After the death of his daughter, ex-con Wilson tracks down the man he feels is responsible in search of the truth and a little bit of justice.
The films editing is astounding, flipping from now, back to then, over to ten minutes time, back 30 years, back to now, conjuring up a real sense of Wilson's reflecting in his actions, his thoughts, his choices and his memories, making this simple story a lot more appealing than a run of the mill revenge flick.
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…
Inspired by Christian Childress, please recommend films that you love down in the comments below and I'll try and watch…