L'Anglais

In style, Steve Soderbergh's "The Limey" harks back to the days of freeform French, Italian and British filmmaking of the 1960's, utilizing many of the techniques that at the time were groundbreaking and innovative: the fragmentation of the time sequence, heavy reliance on jarring jumpcuts, the employment of near-subliminal quick cuts to indicate memory and anticipatory imaginings and a pronounced use of the handheld camera to generate a sense of pseudo-documentary realism. This throwback in style is more than appropriate because Soderbergh's film is drenched in a '60's sensibility, from the use of many of the stars of the period in both major and minor roles to the actual employment of scenes from 1967's "Poor Cow" to function as memories for the main character played by the star of both films, Terrance Stamp.

All the above elements make "The Limey" a quite unusual and, perhaps, even unique film of sorts. But I am afraid that this over reliance on technique does come with a price: the film, as a whole, becomes much more of an "exercise" than a fully engaging narrative, partly because the visual distractions keep distancing the audience from the story and characters that should be our focus. Stamp is brilliant as the British ex-con bent on avenging the death of his daughter in the alien world of Los Angeles - and, perhaps, the sense of dislocation caused by the obtrusive cinematic stylings is meant to reflect the similar state of Wilson's mind. That still doesn't excuse the surprising banality of much of the dialogue and the less-than-stellar performances from an otherwise noteworthy cast. Peter Fonda and Barry Newman both miss the mark in their roles as a successful record producer and his loyal bodyguard. Neither their performances nor their dialogue ring true.

"The Limey" seems to have more on its mind than just being a conventional crime revenge melodrama. Yet, do we really know much more about Wilson at the end of the film than at the beginning? Maybe it just becomes difficult to be greatly moved by a film that wants to be an elegy for a character we are given no real reason to admire. Thus, despite Stamp's marvelous performance and the impressive style of much of the film, "The Limey" doesn't add up to much in the long run.

A thrilling and suspenseful movie about a thief ex-convict called Wilosn (Terence Stamp) who sets out to find the man he considers responsible for his daughter's death. However , he quickly finds that he is completely out of place with no understanding of the culture he finds . Wilson is a Cockney career criminal who gets out a Brit prison and immediately flies to L. A. and in his investigations is helped by another ex-con (Luis Guzman) . Together they learn that his daughter (Melissa George) had been having an affair with a record producer (Peter Fonda) , who is presently in love with another young woman (Amelia Henlie) . Investigations lead him to surprise the locals not only with his rhyming slang , but with his hard-man resilience , witty and ingenuity . Moreover , an aging actress (Lesley Ann Warren) helps him , as well. Vengeance knows no boundaries !. Tell Him I'm coming !.

There's so much going for this movie with vastly separate lives of two veteran outlaw men : ageing Terence Stamp and Peter Fonda , colliding in an interweaving story of killings , revenge , violence and redemption , being well written by screenwriter Lem Dobbs . Stirring , fun and as effortlessly assured , in its own relativity short budget way , as ¨out of Sight¨, this consistly attractive, imaginatively comic film milks the fish-out-water formula for all it is worthwhile , and anything else . Adding colorful images and enjoyable soundtrack by Cliff Martinez that are perfectly in keeping with the light , relaxed mood . The performances are all terrific , while director Soderbergh seemingly effortless mastery of his medium goes from strength to strength , while stories cross and collide . Sixties icons Terence Stamp and Peter Fonda show that age has not whitered their performance chops in this vengeance thriller in which an extremely volatile ex-convict investigates the death of his daughter learning she was involved with self-important record producer . Soderbergh's flashblack sequences make use of footage Ken Loach's 1967 movie ¨Poor Cow¨ which featured Stamp as a young thief named Wilson along with Carol White . Main cast is frankly well and it's given sterling support cast . Terence Stamp gives a nice acting as an ex-con , fresh out of prison , goes to L. A. to try to learn who murdered his daughter . While Peter Fonda is fine as a mobster who has an obvious fondness for young girls . They're well accompanied by good secondaries with plenty of familiar faces , such as : Lesley Ann Warren , Luis Guzmán , Barry Newman , Joe Dallesandro , Nicky Katt , Amelia Heinle , Melissa George , William Lucking , among others.

The picture was well photographed by cameraman Edward Lachman and competently directed by Steven Soderbergh , the result is a strong entry for thriller buffs . Soderbergh's customary playfulness with the narrative deftly underlines his ordinary trademarks. Soderbergh made such films as Kafka (1991), King of the Hill (1993), The Underneath (1995) and Gray's Anatomy (1996), which many believed to be disappointments. In 1998, Soderbergh made Out of sight (1998) , his most critically and commercially successful film since Sex, Lies, and Videotape (1989). Then, in 2000, Soderbergh directed two major motion pictures that are now his most successful films to date : Erin Brockovich (2000) and Traffic (2000). These films were both nominated for Best Picture Oscars at the 2001 Academy Awards and gave him the first twin director Oscar nomination in almost 60 years and the first ever win. He won the Oscar for Best Director for Traffic (2000) at the 2001 Oscars . Rating : 6.5/10 . Notable , better than average , well worth watching.

For modern-day revenge movie, this is unusually low-key and pretty good. It's nothing super but it sneaks up on you. It might bore you, but it might not:. It's really hard to say.

If you enjoy a character study by an interesting actor (Terrence Stamp) you might like this. But, beware, it has its slow moments. What it is, is simply another revenge tale, so often told but so often fun to watch. This one is about a British criminal (Stamp) getting out of jail, finding out that something bad had happened to his daughter in Los Angeles, and going for the man (Peter Fonda) he feels is responsible for that.

There is a bit too much flashback in here, so you have to be prepared to put up with that. Of note, the filmmakers used actual film footage from a 1967 film of Stamp to show him in his younger days.

What I did really enjoy was Stamp's vocabulary and the interesting looks on his face. The supporting cast also adds nicely to this story, particularly Barry Newman, who plays Fonda's bodyguard. There isn't a lot of action in here but when it does occur, it's pretty intense.

When I see Londoners portrayed in Hollywood I almost want to apologise . Being a Londoner myself I cringe when characters speak to Americans in the local London dialect . It's wouldn't happen and we don't all speak like that anyway!

Terrance Stamp plays one of those extremely volatile and dangerous Cockneys who goes to Los Angeles to find the man he considers responsible for for his daughter's death .

Despite the over exaggerating accent I really liked this . Stamp's character is certainly unhinged and you definitely feel he has nothing to lose . He's out for revenge and nothing is going to stop him

I love the way we see flashbacks to when he was a young man . The flashbacks are taken from Ken Loach's first ever film - Poor Cow and because it's actually stamp as a man in his twenties, it's about as genuine as you are ever going to get .

This is one of Steven Soderbergh's lesser known films and while it's not perfect , it certainly doesn't look out of place with his back catalogue.

The `revenge story' is a pretty overdone plot device, so when a film comes along that employs this theme and still remains fresh and compelling, it is safe to say that is a truly good film. Steven Soderbergh's `The Limey' is able to do just that. In `The Limey', Terrence Stamp plays Wilson, a career criminal who, upon being released from prison in England, finds out that his estranged daughter has died (or perhaps been murdered) in Los Angeles. Wilson's mission is to find out what happened to her, and prescribe his own brand of justice on the man behind her death.

Soderbergh's direction in `The Limey' is superb. While I enjoy and admire most of his filmography, I was so enamored with his second film, the barely-seen, highly acclaimed `Kafka' for its originality, its daring style and intellectual feel, that films like `Oceans Eleven' and `Erin Brockovich', while quite good, didn't reflect what I felt was to be his true maverick style. Seeing `The Limey', made before `Erin Brockovich' and shortly a couple of years after `Kafka', I was happy to see that he kind of held on to that spirit (for lack of a better expression) for one more film before producing more commercial fare. `The Limey' is told in a very non-linear style, and not even as clearly delineated as say, `Pulp Fiction' was; rather it is flashbacks and real-time events expressed by fluttering scenes and an almost wispy presentation. Soderbergh also employs scenes from one of Terrence Stamp's films from the 1960's for some flashbacks, a thoroughly brilliant and creative tactic.

Terrence Stamp certainly deserves mention for his performance as Wilson. Whether seeing him as General Zod in `Superman II' or as the drag queen Bernadette in `The Adventures of Priscilla Queen of the Desert' he is a true badass. Watching him chase after Peter Fonda in `The Limey' was like watching a reincarnation of Yul Brunner in `Westworld'; he just never let up. Anyone who would get in his way were pretty much toast, but it was all so coldly done that it was almost clinical – just by the hard and distant expression on Wilson's face you know that all of these people were incidental and he wouldn't receive any pleasure until he comes face to face with his nemesis; and even then, it's possibly more of a duty than a pleasure.

Check out this film – you won't regret it. However, if you're expecting a film with the same kind of commercial tone as say, `Oceans Eleven' you may be in for a surprise, albeit, in this viewer's opinion, a pleasant one.

--Shelly