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.
It's not a bad movie, I just found it profoundly annoying. Terrance Stamp gets a lot of praise for his performance here, but I thought he was ridiculously over the top. Every time he appeared on screen I was praying he didn't open his mouth, so he couldn't show of his awful cockney accent and spout out all the English slang. The constant references to the language barrier between English to American was tiresome early on by the end I was screaming in agony. Also what the hell was up the editing? It did't work at all. The plot while good, doesn't offer a lot, there's no real twists in it and for a film that's less than a hour…
Soderbergh's homage to 70s UK gangster films. Sweet.
A pretty top notch geezer action flick that beats the pants off Expendables. Soderbergh works his editing into a lather, but it all holds together +10 years later.
I upped it half a star on my...7th watch now? Jesus. Thank god it's so short.
I'm going to paste my first draft of my aesthetic essay I wrote for a class. Read it. Don't read it. I figured I might as well post something on here since it's been keeping me from watching other movies. If you do read it it is important to note that it is an analysis of the film's editing and how it displays the theme of grief. Therefore it has a lot of spoilers so don't read if you haven't watched please. Enjoy?
In Steven Soderbergh’s 1999 film The Limey he creates a discontinuous story about a recently released convict, Wilson. Wilson’s daughter,…
Well this is a really good movie
This may have been innovative stuff in 1999 but in today's world of revenge pics, angry dads, and urban horror this didn't really do much for me.
God bless Terence Stamp though.
"No, not my girl. Self-control she had. It was a point of pride."
I'm torn between the theme. It's definitely redemption. I feel a little bit like it's atonement. His decision to change his past at the end on the plane when he tells the women he's been on an oilrig for nine years. He forgets his narrative because he has finally forgiven himself.
Also anyone else think the casting of Jenny and Adhara was intentional to make the characters look identical? To me it's like Wilson, in remembering the events, physically recreates his daughter in the form of Terry's new girlfriend to make his memory of it appear more redeeming than it actually is. It also, in terms of the actual events, motivates him more.
Soderbergh's The Limey is a work of art. A sympathetic flip on the revenge tale.
An ode to the 60s - a dirge perhaps.
Terrence Stamp is both detached and poignant.
Fonda is skeezy, but magnetic as usual.
Rife with subtleties, the editing plays a big part in the storytelling. Complexities abound.
These are just some first impressions. I will spill more a formal input, pending a second - most intense - viewing.
The Limey is so good I don't even feel anyone needs to review it.
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…
The Gentlemen's Guide to Midnite Cinema is a podcast discussing all films genre related; covering everything from horror to Wuxia,…