Movies that are slightly off.
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 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…
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 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…
After a series of pretty average-y movies I have seen lately it is refreshing to finally watch a genuinely good production again that is well written, well acted and well directed and though intelligent doesn't beat you around with self knowing winks and innuendos. Great to see such a plethora of somewhat older excellent actors in this kind of movie together (EXPENDABLES, suck on this) even though I totally didn't recognise Joe Dallesandro. The characters are absolutely amazing and it's hard to just highlight one but if pushed would pick Peter Fonda whose character amazingly reflects what may ultimately have happened to all those 1960s hippies that he himself helped define so well.
"Bide your time and everything becomes clear, and you can act accordingly."
Felt somewhat slight given the amount of subtext Soderbergh is capable of cramming into potboilery fare like Out Of Sight, but there's still a decent amount of emotional depth to plumb from Terrence Stamp's performance. Typically stylish, though always in a functional way.
Love the score and the edit...can see why some really rate it...something didn't quite click for me...can't put my finger on it....
Terence Stamp was by very, very far the best thing about this movie.
The flashy editing was a bit annoying and the plot was incredibly flimsy but The Limey wasn't a complete waste of time by any means.
First viewing in over a decade (thanks to the limbo that the Artisan catalog is in) and I now enjoy it quite a bit more. Some interesting editing and good use of the cast gets the most out of Lem Dobbs's lean screenplay.
Expert craft can only carry a poor script so far. This movie sounds like it was written by someone after watching an episode of Seinfeld followed by on old British crime drama. The dialogue is woeful, working in words like 'geezer' and some cockney rhyming slang to try and apply some faux-level of authenticity to Terrence Stamp's Wilson is an attempt that just sticks out like a sore thumb. And then you have the various criminal element and henchman who are given inane dialogue in between scenes to humanise them I guess is also an ill-advised attempt at levity. It just comes across like a bad Pulp Fiction impression because none of those actors can deliver a line with an…
How much are our responses to a film created by our expectations? By that I mean how much are my responses to a film created by my expectations? I went to see The Limey on its release with a sense of optimism: Out of Sight, The Underneath and sex, lies and videotape were three of the finest recent American releases: I thought Steven Soderbergh was a talent. And I enjoyed The Limey and I still enjoy The Limey, but I wonder if I didn’t have the positive expectations whether I would have found it irritating. It is too clever by half. It’s full of jiggery-pokery that leaves me wondering what all its cleverness is doing. There is all that smarty-pants…
Wilson (Terence Stamp) has just been released from another prison sentence and has travelled to the US to find out who killed his daughter. She allegedly died in a car accident, but he doesn't believe that. Does his own criminal past have any bearing on her fate? I particularly liked the way the film was shown in flashback with thoughts heard, but found some of it a bit fanciful.
Dessa fase de pequenos vícios experimentais do Soderbergh deve ser um dos filmes mais limpos. E o roteiro ajuda muito. Apesar desses cacoetes da montagem que tentam embaralhar uma certa funcionalidade básica (de um simples plano e contra plano fora de sincronia a não-linearidade de algumas sequências) não é exatamente um filme interessado em reinventar muita coisa.
No fim das contas é até uma espécie de pequena reverência ao gênero (hitmen, revenge film, o que seja) que faz muito bem o seu trabalho. Até porque por mais que ele tente desconstruir esses elementos formais básicos, Soderbergh nunca trai a funcionalidade básica do gênero.
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