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…
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.…
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…
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.
The case at hand: Adam needs to see much more of Steven Soderbergh's filmography.
Exhibit A: The Limey
I feels that The Limey is Soderbergh's distinctly Soderberghian reaction to Guy Ritchie's Lock, Stock and Two Smoking Barrels (released the previous year). Keeping the cor blimey! cockney dialogue but putting it into Terence Stamp's mouth is a genius move -- it's still ridiculous, just also quite scary -- and wrapping it all up in a classic noir revenge plot suits it perfectly.
Steven Soderbergh film with Terence Stamp as a career criminal who's come to LA seeking revenge. Stamp is solid as always and has a good supporting cast featuring some much welcome older actors like Barry Newman, Peter Fonda, Lesley Ann Warren, William Lucking and Bill Duke. The editing style is a bit unusual but helps move an otherwise predictable story along.
Soderbergh: cinema's flashiest underachiever.
Enjoyed this while watching it, especially loved the relationship between Terence Stamp and Luis Guzman. Also really liked Peter Fonda's character, an inadequate and selfish but not evil (in fact, rather well-meaning in some ways) man. Great to see Leslie-Anne Warren again, and Bill Duke has what amounts to a brilliant cameo. Interesting editing choices, some lovely photography, and I've been singing "The Seeker" ever since. Not the violent action revenge piece I was expecting, but a sedate and thoughtful character-driven film that was worth a watch.
Now, a week later, I find that it has really stayed in my mind. I can't seem to let go of it. I keep deriving different meanings from the ending, why what happens…
Soderbergh’s The Limey is like a five-finger exercise in style. The editing’s relentless, with more cuts than a man who’s been thrown down the Santa Monica Mountains.
Scenes we’re not supposed to see yet flash on the screen, images that are decades apart machine-gun toward us and characters are somehow introduced me before I’ve been introduced to them. Fragments unknown to be real or imaginary pan out, accompanied by unknown voice-overs like a dream; above another short but sweet Soderbergh soundtrack where each song serves a purpose. Amidst chaos, we still understand the bubble of information, it works; this is a very organized collage of a vengeance story.
What I love in this film, is how each scene, no matter…
Decent revenge film, not a fan of the editing though.
Wilson (Terence Stamp) travels to the States in order to find the ones responsible for the death of his daughter...
This may be my favorite Soderbergh movie. It's short, straight forward and thrilling. Soderberghs decision of presenting one of the oldest stories in genre history in an experimental style (e. .g jump cuts, non-linear storyline...) reflects the state of mind of protagonist Wilson perfectly. At the beginning he's like a wild animal, firing in all directions driven by rage. His path leading to the person responsible for the death of his daughter helps him to come to terms with his own relationship to her.
It's also a very compelling duel between 70s character actors Terence Stamp on the one side…
a weird movie with a great role for Terence Stamp, who had also a great supporting role in 'Wall Street'.
The script is good, the special effects are OK, and the flashbacks show some great cinema; you know this movie was directed by a good director.
Peter Fonda is not the greatest actor around, unless he is on a motorcycle and doesn't have to say a lot! Good movie, but not top!
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