Lights in the Dusk
18Nov11
The use of Loach's Poor Cow to provide a structure for the flashbacks is ingenious.
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Judicial Joe
18May12
A wonderful tale of vengeance, family and redemption that tweaks the very same Los Angeles entertainment industry that produced it. Stamp and Guzman are impeccable together, and Peter Fonda gives one of his best performances as the skeevy, 60s relic douchebag Terry Valentine.
Mr. Arkadin
22Feb12
I've not watched much Soderbergh, but this one has much to recommend it: Stamp's performance and delivery, which manages somehow to be both theatrically artificial *and* spot-on; the displaced and overlapping dialogue (a technique reused to much effect in *Drive*); as well as the always-gorgeous-to-look-at framing and visuals (I could've done without the sometimes overly processed effects on flashbacks though).
Lights in the Dusk likes this
Lights in the Dusk
18Nov11
Soderbergh's approach places the audience inside the head of the central character, creating an inner-space where the revenge plot can develop as a series of potential 'what if...' scenarios, fuelled by memory and despair. The result is something like a cut-up, stream of consciousness psychodrama, created around the structural experimentation of The Underneath, cross-cut with the neo-noir formalism of Out of Sight...
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Harry Rossi
11Oct11
Definitely one of the better Soderbergh films I've seen. Very well done. Terrence Stamp is excellent.
Daniel McCarthy likes this
Don't Get Nasty Brother
1Sep11
Una de las supuestas debilidades del film es que el estilo se antepone al contenido. Y la verdad no puedo decir lo contrario. Es una película donde el estilo parece ser lo más importante, lo que siempre me ha cautivado es que es ese exceso de estilo el que hace posible contar la historia. Una recomendación: ver la película con el comentario de Soderbergh y Dobbs le da una nueva dimensión. Totalmente recomendable.
Stephen Campbell
31Aug11
An excellent modern Noir which happens to be packed with great performances
Nelson Núñez
24Jan11
Una película de venganza narrada de forma experimental (con una estructura que mezcla indiscriminadamente el presente, pasado y futuro del protagonista) protagonizada por varios iconos de los años 60 y 70: Terence Stamp (en un papel salvaje), Peter Fonda (tremendo en su rol de productor musical post-hippie), Barry Newman (el mismo de Vanishing Point) y Joe Dallesandro (el actor emblemático de la factoría de Warhol)
superbad71
5Dec10
Ultra stylish direction, cinematography and editing in a gorgeous-to-watch revenge film. A fine neo-noir the story line follows an unflinching Terence Stamp as he gets revenge for the death of his daughter. With the comedic "Out Of Sight" and this, more serious affair, Soderbergh has clearly demonstrated a talent for noir, I wish he would do more.
Quentin
29Sep10
One of the film that turned me into a cinema addict. I became a fan of both Seven Soderbergh and Terence Stamp afterwards. The story is simple and entirely supported by Terence Stamp's play. But the cinematography and editing blends classical and modern ideas in a way that still remains unique and makes the story captivating. The same year, Jim Jarmusch tried a similar blend and just as great with Ghost Dog.
speak25
28Aug10
Great 70's Peckinpah revenge throwback. Stamp is a blast to watch as he chews the scenery in a borderline over the top, bravura performance. Fonda is wonderful, the embodiment of laid back smarmy California cool. Not enough to hook you? OK, then just watch it for the sublime editing and photographic compositions. Soderbergh might have made more "important" films, but non this fun.
Phil Worfel
9Nov09
One of those great small films that Soderbergh is so good at. It made me a fan of Terrance Stamp (especially his line delivery) and it makes very creative use of one of Stamp's early films. The film is still unknown and underrated enough to be a discovery to those of you out there who haven't seen it.