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The Limey
Steven Soderbergh মার্কিন যুক্তরাষ্ট্র, 1999
The film is shaped like John Boorman’s Point Blank, structured around an elemental case of paternal vengeance and crammed with Soderberghian texture and comedy. But it’s first and foremost a celebration of Stamp, whose incisive intelligence and no-fucks-given momentum through the plot is a welcome spectacle.
March 22, 2018
সম্পূর্ণ আর্টিকেল পড়ুন
[It’s] a brain-teaser, at times flirting with midnight movie stoner pretension, that somehow keeps both its storyline and its emotions clear, and that also happens to fulfill the requirements of the revenge thriller, as well as the more rarefied genre of melodrama in which old men look back on life and take responsibility for their failures.
September 14, 2015
সম্পূর্ণ আর্টিকেল পড়ুন
The first shot is as striking as any Steven Soderbergh ever forged. A hundred no less snazzy follow it… In times of mindless postmodernism, Soderbergh distinguishes between the reductive appropriation of an era (stunt casting, or a Che Guevara shirt, say) and the tenderly analytical embodying of it… This is assuredly Soderbergh’s masterpiece — the ache of missed chances and bad choices, the loneliness of vengeance, the search for true emotion in an ocean of ruthless fragmentation.
December 04, 2008
সম্পূর্ণ আর্টিকেল পড়ুন
There’s a rawness, something naked, about shunting to older footage of Stamp. It suggests a memory, and more generally a past, so cherished that it breaks out with hyperlucid photographic precision, with a leap in time actually traced across film and life. Wilson says he wants “satisfaction,” echoing the old duelling challenge—so real it hurts, and so deeply that it becomes real.
July 13, 2007
সম্পূর্ণ আর্টিকেল পড়ুন
Of the films which post-date Schizopolis my favourite is The Limey… These ultimately dystopic scenes prevent The Limey from being a fun, ’boy’s own’ crime story in the vein of Get Carter (Mike Hodges, 1971) or Sexy Beast (Jonathan Glazer, 2000). Rather, it acts like a melancholic dissertation on the nature of loss when it affects even the morally reprehensible.
October 01, 2003
সম্পূর্ণ আর্টিকেল পড়ুন
Though immensely satisfying on strict genre terms, The Limey edges into a sad, rueful tone that not only lends poignancy to Stamp’s quest to know more about his estranged daughter, but also to its stars’ ebbing careers… The Limey is a throwback to a great period in American cinema, one in which Soderbergh himself would have fit quite nicely.
March 29, 2002
সম্পূর্ণ আর্টিকেল পড়ুন
Its stroke-of-genius pairing of two ‘60s icons aside, “The Limey” is essentially a down-to-earth crime thriller that’s cut like an art film. The story is told out of sequence, but there’s an inherent logic to it. Conversations are re-created and reconstituted; they often resemble memories of conversations rather than real ones. The effect is riveting as well as surprisingly realistic.
June 28, 2000
সম্পূর্ণ আর্টিকেল পড়ুন
With its montage of flashbacks and flashforwards, images as much from imagination as from memory, The Limey is almost a story that never happened, a fantasy briefly dreamed by airline passenger Wilson, perhaps on his way to Los Angeles, perhaps not.
December 08, 1999
সম্পূর্ণ আর্টিকেল পড়ুন
Funny, touching, and as effortlessly assured, in its own relatively low budget way, as Out of Sight, this consistently imaginative, comic crime movie milks the fish-out-of-water theme for all it is worth, and then some… Lem Dobbs’ script is witty; Ed Lachman’s images and Cliff Martinez’ music are perfectly in keeping with the light, relaxed mood; and Soderbergh’s customary playfulness with the narrative deftly underlines Stamp’s obsession. A joy.
December 07, 1999
সম্পূর্ণ আর্টিকেল পড়ুন
The complex play with time, the metaphysical ambiguity, the stylish wit and violence, and the cool sense of LA architecture all evoke [Point Blank]. For that matter, a lot of flashback material about the hero as a young man comes straight out of Ken Loach’s 1967 Poor Cow. But with or without a sense of where it all comes from, this is a highly enjoyable and offbeat thriller—better to my taste than Soderbergh’s Out of Sight, though similarly quirky in how it sets about telling a story.
October 14, 1999
সম্পূর্ণ আর্টিকেল পড়ুন
To the English ear Wilson sounds like a cut-rate parody of Dickens (“’Oo dunnit, then? ’Oo snuffed ’er?”), but Soderbergh and his screenwriter, Lem Dobbs, use the argot to establish Wilson as an alien, a stranger who observes L.A. with uncomprehending suspicion, while it returns the favor… Smart, funny and soulful though The Limey is, if that’s all of “the ’60s” that remains in current memory, then, as Wilson might say, it’s a poor do.
October 08, 1999
সম্পূর্ণ আর্টিকেল পড়ুন
Danny Saber is behind most of the film’s hollowed-out jazz-tronica. But it’s Soderbergh’s Visine-clear vision and unconventional skill at killing several narrative birds with a single stylistic stone that elevates a relatively simple noir flick into an ingeniously atavistic work of art, in which even the editing is a slave to the rhythm. All this, despite the fact that Soderbergh is after two divergent film moments from the ’60s.
October 08, 1999
সম্পূর্ণ আর্টিকেল পড়ুন
Like “Point Blank,” “The Limey” is an art noir that courts pretension but just manages to keep from succumbing to it. It relies on a tricky, fractured editing scheme (by Sarah Flack) that jumps between past, present and future, and from location to location. A scene might be interrupted by quicksilver flash-forwards to its conclusion. It’s like entering a room and finding the wall decorated with shards of mirrored glass that allow you to glimpse what will happen five minutes from now.
October 07, 1999
সম্পূর্ণ আর্টিকেল পড়ুন
Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
October 07, 1999
সম্পূর্ণ আর্টিকেল পড়ুন
Its cool, sleekly beautiful surface lying lightly over a story boiling with casual cruelty and festering unhappiness, this intelligent, oddly aloof thriller is a worthy follow-up to director Steven Soderbergh’s OUT OF SIGHT… The juxtaposition of that [Poor Cow] footage with Stamp’s complex, beautifully shaded performance as an embittered older man looking to justify his misspent life by avenging the daughter he drove away is simply heartbreaking.
October 07, 1999
সম্পূর্ণ আর্টিকেল পড়ুন
For all its flourishes, The Limey is an economical movie— as well as a curiosity in which the independent filmmaker whose early success paved the way for Tarantino at Sundance and Cannes reinvents himself as the most skillful of Tarantino disciples. The Limey’s narrative is absurdly straightforward but the movie has a casual, tossed-off feel— less the logic of a nightmare than a daydream.
October 06, 1999
সম্পূর্ণ আর্টিকেল পড়ুন
It’s probably not a coincidence that Soderbergh’s two weakest films to date were both written by Lem Dobbs; like their previous collaboration, Kafka, this is little more than a dubious exercise in style, its underbaked narrative garnished with generous dollops of visual brio.
June 23, 1999
সম্পূর্ণ আর্টিকেল পড়ুন