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…
This week in films that review themselves, it's Steven Soderbergh's The Limey! Let's hear what this 1999 revenge lark has to say!
"[I'm] not specific enough to be a [movie]. [I'm] more like a vibe." And is it ever! Such an intoxicatingly digressive vibe, Steven, you almost had me thinking I might get engaged in it outside of some wry humor and your characteristically staggering direction and editing. Really had me going there for a second. Mild enjoyment throughout! Aceeeeee!!
A conventional revenge story told with style, wit, verve and capital-fucking-c-CHARACTER, for crying out loud.
Soderbergh takes a genre that had previously (and subsequently, at least until BLUE RUIN) become stale and cliche-ridden and turns it on its head, even incorporating footage from one of Terence Stamp's earliest movies to add a real sense of history and weight and loss, which are three things you really need in a revenge thriller.
Amusing bonus: as an Englishman, all of Stamp's dialogue made perfect sense to me, which made every American character's bemusement at his cockney slang all the more entertaining.
"Do you understand half the shit this guy is saying?"
"No. But I know what he means."
Film #22 of my May 2016 Scavenger Hunt
Task #29 - A film by a director whose first name and surname begin with the same letter
This was a strange experience. I heard someone talking about this calling it similar to Memento, and i guess you could say that, kinda, but then again not at all.
There is some really weird editing going on, and yet the movie felt so incredibly relaxed. It felt as if the story didnt matter until the last 5 minutes, and incredibly enough it worked. There was this soothing feel to the movie, like watching Guy Ritchie on downers instead of chaotic uppers.
An experience really out of the ordinary. I dont really see Soderberghs game with this, but i did quite like it.
Also, is Peter Fonda incapable of being in a movie without playing a Steppenwolf song?
Terence Stamp is awesome in this flick. Other than that, it didn't really move the needle for me.
An extremely well-crafted revenge thriller/noir by Steven Soderbergh. If a directors number 1 job is to get the best performances possible out of his/her cast, then Soderbergh succeeds here. Terrence Stamp is electric, along with a supporting cast who all create unique and interesting characters. The film is also very smartly edited, similar to Soderbergh's previous effort "Out of Sight". The film is very short, and, as a result, the characters are not very fleshed out. But the story is potent, clear and concise. "The Limey" is a powerful effort by Soderbergh that regains the energy of his debut: "Sex, Lies, and Videotape".
Well crafted, fun and mesmerizing. I see it as a grittier "Memento". Masterfully edited and acted (Terrence Stamp was great). Also uses elements of music and lighting to really make it stand out. Overall, a enjoyable neo -noir infused with a great amount of style.
For some reason I thought I had seen this. But nay, I seemed to of got it confuzzled with The Hit. Both have the delectable Terence in it though.
"Did you ever dream about a place you never really recall being to before? A place that maybe only exists in your imagination? Some place far away, half-remembered when you wake up. When you were there, though, you knew the language. You knew your way around. That was the Sixties...No. It wasn't that either. It was just '66 and early '67. That's all there was." T.V.
That Che shirt was Soderbergh's inspiration to make Che
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…