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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 givs it sum welly stickin' it straight up da yanks like a true guv'nor. None of dis muckin' about malarkey. He goes an' sticks da boot in where it 'urts. Bosh. Get in dere son. See, Wilson is propa old shool, nawotimean? Got a bit of class abou' him like. Y'know, nice freads, lookin' sharp. A propa gent.
Don't think he's a mug tho. He'll steam rite in dere and give 'em a couple slaps if needs be. Sort 'em rite out. You can't blame 'im can ya? You'd do da same wouldn't ya? Anyone 'urts da family dey gotta be sorted. Can't 'ave dat. He didn't spend all dat time doin' bird (lime - Time) for nuffin'.…
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…
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 crafted, 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…
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.…
The narrative structure of POINT BLANK taken to it's next step, but lacks it's coolness (Stamp is very goofy), which is totally fine, as that isn't the goal here. It kinda flirts with the visual style that Soderbergh would discover with digital, and the finale is echoed in HAYWIRE.
Steven Soderbergh follows his 1998 Out of Sight with another stylistic subversion on the classic crime film. Where his previous film flirted with complex structural and editing techniques to create an irresistible ebb and flow, The Limey goes into almost full on experimental mode, constructing everything as a nesting doll of flashbacks, flash-forwards, and pure potentiation. Soderbergh takes what could be a relatively straight genre picture and attempts something more ambitious, pulling apart time and space as if to suggest a simultaneous indeterminate and determinate universe. The end may be inevitable, but the route there is impossible to predict.
Soderbergh's formal gambits make the film - I am particularly fond of his use of footage from an earlier Ken Loach…
In the beginning, Steven Soderbergh had wandered between projects and genres with varying degrees of success; with Out of Sight (1998) beneath his belt, he decided to hone in on the thriller genre, flexing his filmmaking chops by sticking close to an approved formula. Still, instead of trying to boost (or even replicate) an earlier success, Soderbergh used The Limey to dig into the crime genre and blow it apart from the inside.
Starring Terence Stamp and Peter Fonda, The Limey reaches into the all-star roster of the 1960s to create a revenge thriller that is - to this day - positively futuristic. Its closest analogue is possibly Jonathan Glazer's Sexy Beast (2000) had Sexy Beast been…
Takes a bit to really get started. Lots of good shots and good music. Its okay but not great. Feels like it has something missing. So okay but could have been better.
Soderbergh is usually interesting. Neo-noirs are usually interesting. Put the two together and it's almost definitely going to be.
Didn't like this much.
It's a fairly pedestrian revenge story, with some editing choices which were equal parts intriguing and irritating.
Terence Stamp plays a Cockney career criminal who comes to LA in an attempt to avenge his daughter. Cue an exaggerated East End accent, Cockney rhyming slang in every conversation, and idioms which nobody ever uses. Perhaps other Americans might be entertained by this caricature, but I'm certainly was not. I'm surprised Stamp didn't refuse the script.
Peter Fonda is pretty bad in this too. He's utterly unconvincing as a sugar daddy and villain.
Steven Soderbergh made this between 'Out of Sight' and 'Traffic', it's not quite as good as either and plays out a bit like a low key, more arty 'Taken'. There are lots of great things here, such as; cast, editing, cinematography and use of music. However, Terence Stamp's forced cockney accent is a bit shit, people don't talk like that!!
one of soderbergh's best
Watch this film for Terence Stamp and some dope editing by Sarah Flack.
The narrative is hit or miss, but Stamp is terrific. There also is some compelling cinematography but then I felt Soderbergh was trying to hard.
All in all it was a simply fun film.
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