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In “The Limey”, Terence Stamp plays “Wilson”, an English career criminal who comes to Los Angeles to track down the man who is responsible for his daughter's death. It's a classic case of culture clash, as Wilson navigates the unfamiliar environment of LA's glitzy dual worlds of entertainment and criminal underworld. He misunderstands, miscalculates, and muddles through, all while confusing Angelenos with his broad London patois a Cockney rhyming slang. It's a cool, stylish modern-day take on noir, and a must-see for fans of the genre. Read more

Very interesting film with a catchy plot handled by some good actors. We enjoyed it a lot. Read more

Wow. This movie was impressive. Revenge stories go back a long ways, like back to SHakespeare? Ancient Greece? Atlantis maybe? I'm always up for a good one and this is a good one, a very good one. What makes it so good? Well the acting for one. Terence really puts his " Stamp " on his role. ( Sorry) Although a cold, unemotional badass for most of the movie it's easy to see how he still loved his daughter, even though he was not openly emotional about her. His character was a hard man, probably grew up learning to not show any kind of vulnerability, but through little nuances it was clear how much he loved her. The other characters were well drawn and acted too. I gt the feeling hat behind each supporting character there was another interesting story waiting to be told. The editing is the other reason this movie takes a time honored theme like revenge and makes it fresh, something new. I can't really explain it, there's probably a film school term for it. but it's not 199% a linear story line. Let's just say it keeps you on your toes without trying too hard to lose you. Finally, it's a statement about Fatherhood. Really. I don't want to go on and on about it, but it shows not only how important dad's are to forming their little girls but also how important little girls are to forming their dads. It's an unusual film, difficult to classify, but it's a surprisingly rich film experience. I hope some day Soderbergh makes another one as different and interesting as this one. Side Bar: Great soundtrack too! Read more

This is one of the finest crime dramas of recent years. Harkening back to another great film, 1971's Get Carter, Terrance Stamp plays an ex-con, Wilson, who has comes to America to discover the causes of his daughter's death. I found this a great film for many reasons: Steven Soderbergh's direction was fascinating. He plays with time and images in a very interesting way, mixing up sharp close ups and long shots done out of time (some in flashback, some looking into the future). While this smacks hard of arty/indi filmmaking, I think with this film it really worked to tremendous advantage. There are several shots of Terrance Stamp in extreme close-up, focusing on his strange, pale blue eyes, while sun and shadow play across his face. I found these shots oddly moving, and after a second viewing I figured out why: in these shots the sunlight passes over his face like the rising and falling of the sun - like the passing of time. Soderbergh's direction is very tight throughout, and his shot selection is always excellent. I love the casting of this movie. Terrance Stamp could not have been better, cast as Wilson, the cockney career criminal that has come to the plastic world of California looking for some very hard answers. His Wilson is a once-in-a-career creation, much like Clint Eastwood's, William Munny from The Unforgiven. Stamp really makes Wilson jump right off the screen in every scene he is in. Several good to great actors find their finest moments on film here, always playing against type. For once Lesley Ann Warren is NOT a bubble-headed sex starved vixen, but instead a woman with depth and intelligence. For once Luiz Guzman is NOT a slightly comic, second banana bad-guy Hispanic but instead a decent, complex man that proves his metal during the course of the film. Peter Fonda plays a music mogul named Valentine with a heart of corruption beyond his melancholy reminisces of the 60's (who, in an offhand moment, explains the 60's perfectly in about 5 or 6 lines of dialogue). Barry Newman seems to come out of nowhere with a pitch perfect performance as a suave head of security for the Valentine empire. Finally, watch for the two-man hit team of Nicky Katt and Joe Dallesandro, who are hired to kill Stamp. Nicky Katt gives a real, real creepy performance, nearly worth the price of admission by itself, and it was just great to see Dallesandro mixing it up again (Dallesandro comes out of the Andy Warhol factory and was Warhol's beefcake boy in several of his movies). All in all, a film that will easily stand up to repeat viewings. This is one you should have in your collection. Read more

the movie kept jumping from one scene to another about every 10-20 seconds, bad acting and dialogue Read more

I so much wanted to like The Limey and heard from numerous people that it was a great movie, so I picked it up and was disappointed. I like most of Steven Soderbergh's other films, like the Ocean's movies and Out of Sight, Contagion, and even Haywire, but The Limey just wasn't what I thought it would be. Don't get me wrong it's not a horrible movie it just doesn't entertain me much. It's your basic thriller with a Father trying to get revenge for the death of his daughter. The reason I gave it 2 stars were for Terrence Stamp's acting, which is impeccable and entertaining as always, and for the good parts, which there aren't many of. It just kind of lingers too long in Terrence Stamp's head space sometimes and is just kind of hollow. I kind of felt invested in the movie when it started and up until Terrence Stamp killed a few guys, but after that the film goes on a steady decline with a few bumps of action and entertainment here and there. If you like Soderbergh's films and haven't seen this one, rent it first before you buy it because you might not like it. Like I said it isn't a bad movie, it just didn't do what I wanted it to do. Read more