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…
Taut, riveting and with a terrific cast, The Limey is a brilliant tour de force dramatic thriller that has everything that makes the genre great. The acting is terrific, and there are several solid performances. Steven Soderbergh crafts an engaging film here, one that is admittedly not for everyone, as it is a slow paced picture, yet the elements work well to deliver something interesting for the viewer. The film could have been better in some [places, but for the most part, it succeeds at being something memorable and thoroughly engaging. I really enjoyed the film, and found that despite such a simple concept, Soderbergh delivered a film that stood out despite a few shortcomings. The Limey is a well…
This review may contain spoilers. I can handle the truth.
In order to tackle Soderbergh’s depth into violence we need to take a step back and look at what we were shown and told. We are seeing the world through the eyes of Wilson who is ambitious and adamant about pursuing the life of a career criminal. This on its own is a rather interesting choice for the outlaw character archetype. After doing a nine year stint in prison, his call to action is the discovery of his murdered daughter in L.A. while he was in doing time. This sparks his internal desire for revenge and stops at nothing to pursue the killer. It’s only until we dig deeper and deeper into the film we start unraveling key thematic elements…
I wasn't anticipating choosing a film with such a distinctive arthouse sensibility for my first choice in this challenge, but then again, Steven Soderbergh is known for bringing a touch of class to the most trashy of genres. He has certainly gone down in the history books as directing the most elegant stripper movie ever made (among countless other genre exercises), so it is no surprise to see one of his earlier films is a postmodern deconstruction of the revenge thriller. If this were told as a straightforward narrative, it would be predictable, possibly even boring. Here, as the entire notion of a film having…
Steven Soderbergh is, I believe, one of the most experimental film-makers ever to garner success in Hollywood. I do not mean that his films aren't main-stream enough to be accepted by general audiences, on the contrary, he made the wildly popular "Ocean's" trilogy. I am simply saying that each film he made saw him reinvent himself in some new way. He has tackled just about every genre; from Science-fiction to crime thrillers to "Magic Mike," and seemed to alter his directing style slightly each time. Sadly, Mr. Soderbergh is currently on a hiatus from making films and it is unclear how much longer he will pursue the art. Regardless, his filmography remains to be a fascinating collection of work from…
WATCHED AS PART OF MY UNSEEN 90S PROJECT
A film that is so competently directed that it almost makes up for the flimsy script and poor dialogue. Stamp is good but his forced cockney-isms get annoying very quickly. I know it's a simple revenge story so the script doesn't have to be amazing but the problem is, it THINKS it is. The dialogue thinks it is written by Tarantino but it should be so lucky. None of it is particularly memorable or even meaningful but luckily, Soderbergh is a talented bugger behind the camera.
I liked the use of clips of Poor Cow for the flashbacks. At first that seems lazy but it actually really fits well and is also thankfully brief.
Terence Stamp on yo face.
The Limey is a revenge flick that I can get behind. Terence Stamp doesn't need to be strapped with muscles and guns to get his vengeance. And the film has more ground in reality than its modern contemporary Taken. It makes for a solid story that is complimented by great editing and the comedic touch of Luis Guzmán.
Taken me years to see this but, thanks to Netflix, I finally got round to it and I can safely say that I adored it.
An extremely volatile and dangerous Englishman goes to Los Angeles to find the man he considers responsible for his daughter's death.
"Tell him I'm coming, tell him I'm facking coming."
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
A response to BFI's list.
Feel free to post your suggestions, I can only do one director twice if the…