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…
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…
I'll admit I admired this more than I naturally enjoyed it, though I did enjoy it. The editing was daring yet still managed to be cohesive; and Terence Stamp is all sorts of great. I'm not sure, however, that I got enough out of it to make it resonate. So I'll leave it at that for now.
Steven Soderbergh playing around is so entertaining to watch!
The Limey is defined deservedly (from what I can see) by 2 things
1) Terrence "Tell them I'm coming" Stamp
2) Stylistic Editing on overdrive
Both things are endlessly fascinating to witness with Stamp's performance keeping you on edge about what this cockney-maniac will do next, and editing choices that show you, lie to you, imply to you about what will/has/is happening next. It takes you out of the film for sure but not necessarily in a bad way just in a occasional inconvenient offbeat way, probably enhancing the implication of damage that grief may cause, choosing to enhancing the theme over narrative.
But its just simply good entertainment (Stamp's speech to the police is just so good)
Because anything with Terence Stamp is cool.
Gems, Classics & Curveballs of the 90's: #2
Soderbergh provides a lot of distancing with his cool editing style, predictive, non-linear and reflective in its effect. It ends up serving a purpose but not before alienating me a little bit. Excellent performances and cinematography elevate a fairly standard 90's Elmore Leonard-esque crime story, riding the auxiliary waves of Out Of Sight. Redeems its meandering feel quite a bit in the end. Over and done in 90 minutes- worth a watch.
This is the perfect example of what a good (or in this case, great) director can do with a so-so script. It's pretty standard vigilante/revenge stuff, with the titular Limey murdering all the people who ever done him wrong.
The script itself is average, but Soderbergh transcends the material with his editing, cross-cutting scenes of dialogue and chopping it up into different parts. Wherever there is a cliche in the script, Soderbergh stages it in a dynamic way.
Terence Stamp is a fantastic, scary presence as the wily Brit who comes to the states to avenge his daughter's death; he is one bad-ass character. He might look old and harmless from a distance, but he's a ruthless m.f.
The story itself is rather suspenseful, but it's clear that Soderbergh shot the dialogue several different times, then cut-and-pasted it together, making it layered and interesting. It's a short, snappy fun time, and different than most revenge flicks you've seen.
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,…
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