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.
Wilson (Stamp), recently released from a British prison after serving nine years for armed robbery, travels to Los Angeles to investigate the death of his beloved daughter Jenny (Melissa George). It was reported that she died in a car accident.
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…
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.
If you come to this film expecting a straight-forward revenge thriller then you're either going to be pleasantly surprised or a bit disappointed.
Soderbergh's The Limey tells a simple tale of a man looking to avenge the suspicious death of his daughter, but it plays out as more of a character study of a man who regrets the criminal choices he has made, missed his daughter's childhood and is now too late to put it right. The irony is, he now has to resort to that criminality to get to the bottom of her fate.
The tone is elegiac despite an energised turn by the great Terrence Stamp. This is clear from the innovative stylistic structure. The film is told…
The first shot -- Terence Stamp tying his tie as the image comes gradually into focus and The Who's "The Seeker" revs up -- is as striking as any Steven Soderbergh ever forged, and a hundred no less snazzy follow it. The admitted influences are Boorman and Resnais, others include Mike Hodges, Cervantes, and Harry Callahan's color photography. Stamp is a trim Cockney specter, just out of jail and landing in Los Angeles to avenge his late daughter, a wayward bird "with fondness for dangerous men." The editing achieves a cubist effect to reflect the fractured mind, and to set off the occasional remarkable long-take: Following a beating from a gang of hoods, the protagonist rises from his ashes, produces…
Glad I gave this flick another chance. The first time I saw it was in 2005. I was 18. This is not a movie for 18 year olds.
Just amazing. Definitely one of Soderbergh's best.
"The Limey" underwhelmed me.
Wicked script, performance and editing - The Limey is a fun and short little crime romp that is sure to entertain and please anyone that views it. Sodorbergh makes many interesting choices in his telling the neo-noir story he is weaving, it does feel at times he using the editing to cover up what is a fairly straight-forward plot, but when push comes to shove he has the film moving in the right directions. The film hinges on Stamp's performance and it is staggering that such a talented actor still remains underrated when he has delivered work like this - he chews through dialogue like he belongs in the 1940s and you don't doubt for a second his character's purpose. It is a fun film, one I can see myself revisiting often.
Taut, incredibly well structured, super cool and stylish thriller supported by great performances. And by the movie's end, it leaves you colder than a bad date.
In anticipation of Soderbergh's transition into television with The Knick, I'll be watching some of his films that I haven't seen leading up to the August 8th premiere date.
First up is The Limey, which seems to be a film that almost has a non-presence in the context of all of his films. He was just coming off a fantastically well-done crime film, Out of Sight and this was the year before he got nominated against himself for two films in the same category.
This is a nice tense revenge thriller, with a twist! The movie is almost entirely defined by elements of post-production. Scenes and pieces of dialogue repeat throughout the film for added emphasis. It's almost like Sodez…
Stylishly shot revenge thriller in which Terrance Stamp (kicking his slang and accent into cockney overdrive) goes after uber douchbag Peter Fonda. Entertaining despite, (maybe in part because of) Stamp's hammy performance.
I really wish more people would see this film. Terrence Stamp commands just about every scene and Soderbergh's trademark unconventional style helps it stand out from the gangster crime crowd.
The Limey is directed by Steven Soderbergh from screenplay by Lem Dobbs. Starring Terence Stamp and Peter Fonda.
Terence is a British career-criminal recently released. He flies to United States on a hunt to track a elderly man (Peter Fonda) who somehow was responsible in his daughter's death, and who had intimate-relation with his young daughter.
This is 2nd film of Peter Fonda that I have watched since I last watched him in Easy Rider in 2007. Fonda looks ageless, so does Mr. Terence. This is the stuff that we're talking about, from Steven Soderbergh (he has been giving us useless movies recently). Good picturization, with touch of finely crafted flashback events.
NOTE: But I don't think this movie is worth 92% on RT, this is ridiculous. This is where the critics blindly fall for established actors/directors.
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
- Donnie Darko
- Morvern Callar
- Irma Vep
- Miami Blues
- Babe: Pig in the City
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…
- Beasts of the Southern Wild
- Lilya 4-Ever
- Life Is Beautiful
- Dancer in the Dark
- Christiane F.
My six hundred favorite films (1940-2014); 615-632 are not ordered yet.