A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
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…
Entertaining like it should be given its roots. Not great, but good.
"What are we standing on?"
Interesting crime drama, well directed by Steven Soderberg.
This thing really needs a criterion edition.
Terence Stamp has the meanest face I've ever seen on a man.
Outstanding. It's kind of amazing how the fractured editing ends up giving more depth to the movie. Maybe my favorite Soderbergh.
This was part of my original introduction to Soderbergh, and it still holds up perfectly. Everything I love about Soderbergh is in this film, along with some great performances from Stamp, Katt, Guzman, and Fonda.
Middling as all get-out, and so low-key at times it barely feels like a movie, but the little bits are what saves it:Terrence Stamp tossing the big bruiser guy from Deadwood off a cliff in longshot, Nicky Katt commenting on a film set, Peter Fonda chastising his underling for tossing the peanut shells back in the bowl, and Luiz Guzman looking wonderingly at the view from a Los Angeles penthouse on a smoggy, hazy day: "You know, you could see the sea out here if you could see it."
A fantastic ending almost makes up for 80 previous minutes of shoddy writing, Dick van Dyke dialogue, farty direction and what is on the whole an unbelievably terrible central performance by Terrance Stamp, intercut with clips of him giving a far better one thirty years previous.
Films where their style fills the screen so absolutely, substance is but an afterthought.
Only added some that I've seen,…