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.
No other actor can match Stamp's on-screen presence in this story...
This often works against the film.
A good effort from Soderbergh, albeit the plot is a bit thin.
If you fancy a butcher's in a used DVD store, you can find it for cheap.
"Tell him I'm fucking coming!"
Ending with a superb face-off between tyrannical Terrence Stamp and Peter Fonda, Soderbergh knits together a short 85 minute revenge flick. I joked with a friend that it was the opposite of 'Taken', with a European finding his missing daughter in Los Angeles. Guided by Luis Guzman, Stamp goes on an odyssey through the streets to search for his daughter's killer. The quick-cuts were similar to Soderbergh's other films, but the music was distracting and makes me appreciate his newer, more electric scores. I love his new show 'The Knick', and I hope he does more revenge movies. The editing is akin to Boorman's 'Point Blank' but not nearly as surreal. Stamp is bad ass and is reminiscent of Kingsley in 'Sexy Beast'.
Last movie watched in my twenties. Bugger off.
Love some of the formal experimentations, love the cockney working class vs American imperialist dynamic, love seeing two titans of 1960s go head-to-head (without ever really meeting).
Don't love that this film is a poorly written mess of late-90s Tarantino pastiche burdened with heavy-handed direction and anchored by a genuinely awful performance from the legendary Terence Stamp.
Soderbergh’s malevolently playful editing illuminates this brooding thriller, helping to turn it from a potentially straightforward Get Carter transplant into something rather more interesting, aided by an imposing central turn, intelligent use of footage of the star as a younger man – taken from Ken Loach’s debut film, Poor Cow – and a surprising, surprisingly affecting pay-off.
Terence Stamp is a seriously violent ex-con who comes to LA straight from the slammer, plotting revenge on the criminals what caused his daughter’s death, a group apparently led by counter-culture beancounter Terry Valentine (a perfectly cast Peter Fonda). Sometimes the script flounders, especially when resorting to cliché or having Stamp repeatedly use and then explain Cockney rhyming slang – he is a…
The Limey is Steven Soderbergh at his Steven-Soderbergh-iest, featuring very expressionistic editing in its portrayal of a British ex-con come to Los Angeles in search of answers regarding the sudden death of his daughter.
Surely this film pushes the boundaries for film. I did like the unique style of plot order through the editing style this has. Overall story was okay, I was expecting a bigger ending, but I guess people have different views on that. Overall, it's an interesting watch and will certainly keep you entertained throughout this piece.
Tell him I'm fucking coming!
This is Steven Soderbergh's underrated masterpiece. Steven Soderbergh himself is underrated, as a respected filmmaker. He deserves way more recognition than he gets. He's got an impressive lineup, too! It's too long to even start listing. Back to The Limey.
This movie is freaking awesome. I may sound immature saying it, but how could you not? It is. Terence Stamp is magnetic, with a chilling but somehow charming performance as Wilson, a man who wants revenge for the death of his daughter. The supporting cast is great, too. Luis Guzman, Melissa George, and even Peter Fonda as the bad guy.
Where this film truly shines is the editing. Take note. It's breathtaking, to where scenes would play out in multiple…
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