Subject: I have found a DVD that I think you would enjoy
Actors: Terence Stamp, Lesley Ann Warren, Luis Guzmán, Barry Newman, Joe Dallesandro
Director: Steven Soderbergh
Genres: Action & Adventure, Indie & Art House, Drama, Mystery & Suspense
British ex-con Wilson (Terence Stamp) arrives in Los Angeles to investigate the mystery of his daughter's "accidental" death. His prime suspect, the wealthy, heavily guarded, music promoter Terry Valentine (Peter Fonda), ... more »
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John A. (Jamigo44) from TEANECK, NJ
Reviewed on 9/7/2009...
Good, but not great film featuring legendary actor Terence Stamp.
Brilliant direction and performances
Sean Hanley | 04/05/2000
(5 out of 5 stars)
"I debated over whether or not to give this movie four or five stars-- it seems to me that 5 stars is an overused rating, but I so enjoyed it that in the end I couldn't give it anything but. Now, I must warn that this movie is not for everyone. If non-linear stories confuse you, just forget it, you'll hate "The Limey." It's totally out of order, and the plot is simplistic anyway. But this movie isn't so much telling you a story as it is telling you about the characters. Which is why I would recommend it if you, like me, enjoy character studies. "The Limey" is *not* an action film, it's a character study of a career criminal who will soon be too old to keep up with his lifestyle. And my God, the performances, particularly by Terence Stamp and Peter Fonda are absolutely incredible. Of course, the movie rests on Stamp's performance, being the focus of the film, and he delivers in spades. But not to be overlooked is Fonda, who as something of a doppleganger to Stamp's character, Wilson, is every bit Stamp's equal. Steven Soderbergh's direction is unsurprisingly excellent. Altogether another great movie of 1999."
A Modern Day Film Noir
Bob Thompson | 03/13/2000
(5 out of 5 stars)
"Steven Soderbergh's follow up to his wonderful 1998 film "Out of Sight" is more understated and subtle than most people might imagine. The Limey is in many respects the closest Hollywood has come in years to filming a modern film noir picture.The main plot of the Limey is of little to no importance. Terence Stamp plays a bitter old Englishmen who comes to LA to seek revenge for his murdered daughter. His pursuit of vengeance eventually leads him to a sleazy record producer, brilliantly played by Peter Fonda.The Limey is a film that revolves around its use of atmosphere. Soderbergh, forever a film geek, uses cuts in time and flashbacks (a constant one to Stamp on a plane) to establish a dark gritty atmosphere which he manages to sustain throughout the whole film. The scripting is a perfect fabrication of a film noir, every character is menacingly constructed to be a worn out tough guy. If anything negative can be said about the film is that it seems to go on a little long. In actuality the film is perfect length but the many scenes without dialogue make it seem longer than it is. Time and time again does Soderbergh cut to shots of Stamp staring into thin air reflecting. It establishes atmosphere wonderfully but if you are looking for a wild ride of an action movie the Limey is not your cup of tea.The Limey is a movie that would be adored by serious film fans but despised by the kind of people who go to the theatre just to watch a fun popcorn movie.If you got this far and you're reading this review then you probably love films."
"Tell me about Jenny," he whispered.
A. C. Walter | Lynnwood, WA USA | 08/07/2000
(5 out of 5 stars)
"Wilson (Terence Stamp) is an aging, but still surprisingly capable, British criminal just released from prison. He travels from the UK to LA and begins looking into his daughter's recent death with a gut feeling that Jenny's car wreck was not an accident. There Wilson meets Jenny's closest friends and asks them all about her life in LA. He soon targets Valentine (Peter Fonda), Jenny's lover, as the obvious culprit.
That's the surface of the film, but there is another layer here that turned standard thriller material into sublime art house fare. "The Limey" is very much a visual, cerebral film that moves in spirals and wanders through a labyrinth of moods and lyrical images. The film is finally all about memories, and its climax is an epiphany of memory and of the strange patterns that we fall into in our lives.
"The Limey" takes a circuitous approach to the phenomenon of women falling for men like their fathers and bringing their father-daughter baggage along with them. What trouble these relationships are the specific emotional patterns and games people play, which are worked out in great detail between child and parent very early in life. So what happens when you bring all that to a relationship with a new person who doesn't know the rules of your game, doesn't know when you're bluffing or when you're making a serious threat? Well, in a worst case scenario you might just end up dead.
And how does it feel, as a parent, to recognize your own handiwork in your child's homespun catastrophe? "The Limey" answers that question with the force of Greek tragedy, and the answer rings true. The film is a rare cinematic accomplishment, achieving both an honest emotional foundation for Wilson's dark epiphany and a web of rich, resonant images that anchor the entire experience in a vivid, dazzling tapestry.