L'Anglais

Low-key thriller/drama about an ex-con seeking revenge on the man that caused his daughters death. That's the surface of this very interesting and fascinating movie from director Soederbergh. There's more than meets the eye, and the patient viewer will be highly rewarded.

This is, in my point of view, a film about all our efforts to review our own lives - i.e. trying to make memories of our past fit in with the reality of today. To try to understand all sides of an event between two people; how actions we take, and decisions we make, makes a difference in the long run in our lives.

Wonderfully directed and edited, this movie is really alive, and shines with various tricks and treats of pure movie magic. The score is perfect, and the acting is great (Stamp in the lead is amazing). The way the film makers intertwine dialogue and voice over is fascinating, and reminds me of the films by French movie makers in the sixties (the French "New Wave").

Obviously not in everyone's taste since this movie is quite demanding in attention and pace, this is still one of the best films ever from director Soederbergh. Rating: 9/10.

The very stylish and simple "The Limey" has me quite baffled. After digesting this movie for a while, I am still not quite sure what to make of it and more importantly, what exactly is it about. On the surface "The Limey" seems like a straightforward geriatric "Deathwish" with its theme of revenge. Go deeper and it is more a character study of a man who has devoted his entire being to a "life of crime" and dealing with a culture that he is not entirely familiar with. Look sideways and it deals with hard core men who are over-the-hill attempting to hang on to their lost youth and vitality by being tough (even though their bodies can't quite cut it anymore), wearing expensive designer suits with tinted glasses and having very young beautiful women by their side. Whatever the case may be director Steven Soderbergh, of the very sexy and stylish but much more superior "Out of Sight" with George Clooney and Jennifer Lopez, knows who to handle the crime drama/thriller with panache and style like no one else.

Dave Wilson (the very good Terrence Stamp), a smart, intense criminal just released from prison heads to LA from London to look into the somewhat mysterious death of his daughter, who he barely knew. He believes she died at the hands of her boyfriend, legendary and majorly rich record producer Terry Valentine (Peter Fonda) and will not stop until he tracks him down for answers.

The plot here of avenging father seems pretty much lame and not that interesting or complicated at all, but maybe that is the point, not everything in life is extraordinary, in fact much of life is standard, simple and uneventful. But the plot does not so much drive this movie as do the characters. In a world of 16-year-old superstar models, actors and singers, it is totally refreshing to see a movie where the majority of characters are over 40, many over the sixty mark. Even the hitmen of this movie are past their prime. These criminal characters are not your typical stock characters of most crime films, some are regular Joes who happen to have chosen crime as their career aspirations and deal with the same problems as the typical 9 to 5 office worker. As the one hitman hired by Valentine's head security Avery (Barry Newman) says, "I embrace my lifestyle".

While the acting is top notch, especially Stamp, Fonda and Newman, the real star of the film is director, Soderbergh and especially cinematographer Ed Lachman. Soderbergh cuts so many different scenes back and forth with a flair that I have not experienced yet as with a character speaking in one scene and finishing the sentence in another. His use of flashbacks of a young Terrence Stamp incorporating Stamp's 1967 film, "Poor Cow", are not only genius but a great homage to the actor. Also when we first meet the Fonda character, the background music has lyrics that include "easy rider is a curse". Just great. He also seems to get amazing performances from his actors as he did with Clooney and Lopez in last years "Out of Sight". Fonda still riding high from 1997's "Ulee's Gold" does well with the character of Valentine, showing a very vulnerable, insecure and weak man who hides behind wealth and power. Stamp delivers an intense and powerful, yet totally focused, subtle and real performance that is very rare in this film genre. It is a memorable performance and character. Cinematographer, Lachman, does an amazing job with shots that are standard fare, but gives them a different angel that make them stand out such as a scene where Wilson tosses one of Valentine's body guards over a balcony into the canyon below. Your typical cinematographer would have focused on this. Instead Lachman has this scene in the far background while the main shot is of Valentine having a good time at his party feeling totally safe and relaxed in his multi-million dollar home.

So the bottom-line, is "The Limey" a great film, I don't think so. Did I love it, not really. Was I bored with it, no quite. I guess it captured my interest in a different and quiet way that most films don't and for that I recommend it. Also when was the last time you saw 70's semi-icons, Barry Newman (TV's 1974 Petrocelli), Leslie Ann Warren and once hunky Andy Warhol mainstay, Joe Dallesandro. Recommended.

Soderbergh is a really odd director. His movies have run the gamut from the wacky, self indulgent surrealism of 'Schizopolis' to the pandering, sell-out mediocrity of 'Ellen Brockovich'. He's really hard to get a handle on. 'Out Of Sight' was stylish with an outstanding cast but left me cold. 'Traffic' featured a handful of great performances, most notably Benicio Del Toro's, but was overall simplistic, unconvincing and cliched. For my money his strongest achievements to date have been his overlooked noir-ish 'Underneath', and this, his involving revenge drama 'The Limey'.

Terrence Stamp, a fine actor who has appeared in more than his fair share of bad movies, really takes this role and runs with it. He radiates dignity and power as Wilson, the English career criminal out to avenge the death of his estranged daughter. My only problem with his performance, and the movie as a whole, is his Cockney accent, which borders on caricature. If you can get over that hurdle you'll be impressed by the depth of his performance.

Peter Fonda, who has never impressed me much as an actor in the past (not even his much lauded role in the overrated 'Ulee's Gold'), is also fine as the sleazy record producer who Wilson suspects of wrongdoing. Stamp and Fonda obviously relish playing these characters, and their chemistry together is the cornerstone of the movie. Both actors are supported by an impressive array of old and new faces - including a surprisingly effective Lesley Anne Warren (her best since 'Cop'), the always watchable Luis Guzman ('Boogie Nights', 'Carlito's Way', etc.), blasts from the pasts Barry Newman (cult classic 'Vanishing Point') and Joe Dallessandro (former Warhol superstar), and future star in the making Nicky Katt ('Strange Days', 'SubUrbia').

Soderbergh cleverly uses footage from Ken Loach's kitchen sink drama 'Poor Cow' for flashbacks, and plays upon Stamp and Fonda's 60s screen personas, but the film is no exercise in mere nostalgia. 'The Limey' is a rarity in Hollywood these days - an intelligent, thoughtful, well crafted and acted adult movie. I liked it a lot.

I first watched this film when it came out, 1999, and did not find it particularly memorable, apart from Stamp's steely performance, Fonda's sleazy character, and the film's conclusion.

I watched it again on 12 January 2018 and I have to own up to the fact that I must have been less than attentive when I first watched it. This time, I found the acting excellent across the board, the script far more interesting than I remembered, photography highly effective and economical, action sequences quite riveting, and director Steven Soderbergh to be in inspired form, even in his judicious use of flashbacks.

Do not take me wrong, THE LIMEY is not a masterpiece - and never purports to be anything even close. It is just a film well aware of its limitations, and highly credible because of that.

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.