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.
a weird movie with a great role for Terence Stamp, who had also a great supporting role in 'Wall Street'.
The scenario 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!
Viewed w/commentary by Steven Soderbergh and Lem Dobbs
De bizarre Russische montage is zowat het enige aan deze film dat (meestal) werkt. De jump cuts, herhalingen, voice overs en andere folliekes creëren een apart sfeertje en stralen originaliteit uit. Verder is deze film echt niet zo goed eerlijk gezegd. Cinematografie viel tegen en het acteren al zeker. Peter Fonda acteert even goed als mijn buurman, hoe kunt ge zo slecht zijn. De rest van de cast was ook al niet veel soeps. Luis Guzman was degelijk en Terrence Stamp had in de hoofdrol een occasioneel geweldig (hilarisch) moment. Zijn monologen in het plat Brits waren geniaal, dat was dan ook het enige geniale aan het slechte script. Melissa George zie ik graag bezig normaal, maar ze kwam hier enkel in de flashbacks sporadisch aan bod, en dan nog zonder tekst. Nicky Katt kon er ook nog mee door. Voor de rest bagger. Hoe dan ook een "interessante mislukking".
Jim Avery: What keeps you so lucky?
Terry Valentine: I learned to skate as a young boy.
Terence Stamp packs a solid punch in this routine revenge
flick..There are traces of the 60s via Peter Fonda(who does not have much to do) and of course the rock and roll songs...The editing was one of the highlights for me with cutting across flashbacks and overlapping the scenes.
Imaginaos la clásica peli de venganzas de Charles Bronson dirigida por Godard o alguien similar.
Muy interesante. Stamp está soberbio, ojalá se le viera más a menudo de protagonista. Y Fonda está francamente bien, con su personaje miedoso, inseguro y odioso...
I didn't really like this film. Stamp seems fake and overacting through most of the film and the film itself it not that interesting...
Starts off interesting and slowly goes off the boil. Stamp overacts regularly, tho most of the time it is ok. Fonda looks like he doesn't have a clue which film he is in. And the less said about the editing, the better. Almost fell asleep at the end...
"You put the lime(y) in the coconut and you feel better!" Sorry, Baha Men, but I don't know how well a lime/coconut drink could make me feel, and I seriously doubt it will make our British friend here feel better, because this is one "sour" limey (Get it?). Corny lime-themed puns aside, this cat is mad, and whether that be because he's being called a limey, or because his daughter is murdered... or because he was banished from his home planet of Krypton just before its destruction, General Zod is back with a more plump vengeance than ever. Jokes about Terrence Stamp's previous projects kind of write themselves when you think hard about this premise of an ex-convict traveling far…
A great performance by Stamp and innovative editing caps The Limey. However, the editing can't totally hide the somewhat weak plot and the heavy-handed handling of WIlson's relationship with his daughter. However, ultimately a very good neo-noir with a Soderburgh flair, seeming to merge American and Brit gangster movies
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