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 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…
Enjoyed this with a Knick chaser.
Soderbergh at his peak brilliance has created a brilliantly unique piece of cinema. It's like Breathless on crack meets a pulpy revenge flick. No, there aren't any twists and turns, it's a straightforward thriller, but in the least straightforward way possible. The Limey doesn't ever exist inside a particular period of time, instead, it just flows through past and future simultaneously, not in the interest of being all Charlie Kaufman-like, but in trying to get key points of information across in the most efficient and entertaining way possible. So, that's The Limey.
Like Bob Hoskins in the Long Good Friday, the screen just lights up whenever Terrence Stamp is allowed to say his piece,…
Fairly middling work from Soderbergh, unfortunately - whilst visually it's sumptuous and alive, Dobbs' script is what makes it drag. The plot, perhaps intentionally merely an echo of an echo of a genre flick, is essentially rote. The dialogue Stamp has to deliver is painfully over-the-top with regards to employing Cockney rhyming slang (Dobbs obviously relishing the chance to write an Englishman) with the 'outsider' character status underlined by a frustrating recurring scene in which an American "doesn't understand a word" he is saying.
That said, there are some very interesting things at play - the usage of footage of Stamp himself from 1967's Poor Cow is ingenious, as are some of the casting decisions - mainly Peter Fonda as…
I enjoy The Limey as a love letter to it’s two stars as much as anything else. Both are wonderful and the sadness inherent in the use of the Poor Cow footage is hugely affecting.
Stamp is obviously great but it also features one of my favourite Peter Fonda performances (especially how physical he is), playing against type as a version of himself rather than his usual ‘internal’ screen persona, and having watched the Hired Hand recently it’s intriguing to see him here as a corruption of the temperament that made that (great) film possible.
Without doubt one of my favourite Soderbergh movies, I think Terrence Stamp is fantastic. Great performances all round though from an experienced and talented cast.
I love the story and the way it slowly unfolds, the fractured nature of Soderbergh's storytelling is a device he's used plenty and just so effective here. The framing, the editing, the acting and story, for me this is a film I've enjoyed so many times from the first to the last frame.
Like Out of Sight, in that it fuels itself mostly on cool, jazzy rhythms, non-linear presentation of narrative, and bad-ass actors. Not as dressed down as the avalanche of unfiltered kineticism in Haywire, although I prefer this Dobbs Soderbergh revenge saga. Here, I was taken by the film's theme of "biding time," knowing when to be angry and when to walk away - Wilson has the opportunity to kill Valentine twice but doesn't, instead coming to understand that Valentine is no better than himself: both are betrayers of the daughter's trust, and that by biding time, Wilson realizes that walking away was the best thing for him to do. Also unique in its approach to the vengeful father, i.e. Wilson's…
- 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); 618-653 are not ordered yet.