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The Limey [DVD]

3.9 out of 5 stars 40 customer reviews

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Product details

  • Actors: Terence Stamp, Lesley Ann Warren, Luis Guzman, Barry Newman, Joe Dallesandro
  • Directors: Steven Soderbergh
  • Producers: John Hardy, Scott Kramer
  • Format: PAL
  • Language: English
  • Subtitles: English
  • Subtitles For The Hearing Impaired: English
  • Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.)
  • Aspect Ratio: 16:9 - 1.78:1
  • Number of discs: 1
  • Classification: 18
  • Studio: Channel 4
  • DVD Release Date: 12 May 2008
  • Run Time: 85 minutes
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (40 customer reviews)
  • ASIN: B0015N2YQO
  • Amazon Bestsellers Rank: 72,994 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

Product Description

Product Description

Having served a nine-year prison sentence, cockney criminal Wilson (Terence Stamp) emerges to discover that his estranged daughter, Jenny, has been killed in a car crash. When he finds out that Jenny was having an affair with American rock promoter Terry Valentine (Peter Fonda), Wilson flies out to Los Angeles, looking for revenge. Upon his arrival he is beaten up by thugs apparently employed by Valentine, and so embarks on a one-man crusade to discover how Valentine was involved in Jenny's death.

From Amazon.co.uk

Two icons of 60s cinema, Terence Stamp and Peter Fonda, go head-to-head in Steven Soderbergh's stylish reworking of the lone avenger theme. Stamp plays Wilson, an ageing Cockney villain newly out of jail, who arrives in Los Angeles to ask some awkward questions. His beloved daughter, mistress of powerful rock promoter Terry Valentine (Fonda), has died in a car crash; but Wilson's far from convinced it was an accident. With his gaunt, grim features and sparse white hair, Stamp's a dead ringer for the angel of death. Or maybe, as Soderbergh hints with some intricate flashback and flash-forward cutting, the whole story is a dying man's dream of vengeance. Echoes of Get Carter and Point Blank aren't far to seek. Though it's tense, gripping and often funny--Wilson's rhyming-slang dialogue bemuses every American he meets--The Limey is shot through with an aching sense of loss and wasted years. The final showdown between Wilson and Valentine feels like the epitaph of an era once rich in dreams. Some of the film's most poignant moments are its "flashbacks" to Wilson's younger days, which are actually clips from Ken Loach's 1967 movie Poor Cow, featuring the twentysomething Stamp, insolently and heart-breakingly beautiful. --Philip Kemp --This text refers to an out of print or unavailable edition of this title.

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Customer Reviews

Top Customer Reviews

Format: DVD
This is a film with a very thin plot but powerful characters. Terence Stamp is perfectly cast as the ageing gangster on a mission of revenge. Soderbergh's directing style (constant flashbacks, lengthy shots of silent characters' faces whilst dialogue continues as voice-over)seems pretty wearing at first, but the pace picks up as the film progresses. All the references, which seem a bit obtuse at first (e.g. a recurring flashback to Wilson's daughter on a beach as a child) are resolved by the end of the film. Fonda is great as a millionaire Sixties has-been. His fawning devotion on his current girlfriend (40 years younger at least) underlines his recognition that time is running out for him. In the end, of course, Stamp and Fonda's characters are two sides of the same coin.
I took this film out thinking it would be a violent, cool, thriller. It is all of those things, but certainly no action movie. More one for the art-house. The script is taut - there are very few wasted words. If you like character-driven movies that make you think, you'll enjoy this. If you're looking for a shoot-'em-up, give it a miss!
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By Spike Owen TOP 500 REVIEWER on 26 April 2013
Format: DVD
The Limey is directed by Steven Soderbergh and written by Lem Dobbs. It stars Terence Stamp, Lesley Ann Warren, Luis Guzman, Barry Newman, Peter Fonda and Nicky Katt. Music is by Cliff Martinez and cinematography by Edward Lachman.

Wilson (Stamp), fresh out of prison, travels to Los Angeles to investigate the death of his estranged daughter Jenny (Melissa George). Aided by a couple of her friends, Wilson's trail leads to the last guy Jenny was dating, oily record producer Terry Valentine (Fonda), a guy with more than record producing on his CV.

Steven Soderbergh picks up on a common film noir theme, that of a man seeking revenge for the death of a friend or loved one, and cloaks it in visual and aural artistry. The story as written is simple, undeniably so, yet the narrative structure spins it into a vortex of complexity and psychological disharmony.

Alongside his editor, Sarah Flack, Soderbergh uses flash-backs and flash-forwards to unfurl the plot. Thus we often get a triplicate viewpoint of a scene, such as what will happen, what the antagonist wants to happen or what might happen! It's dizzying stuff but it serves the emotional thrum of the plot beautifully and draws the viewer firmly into Wilson's state of mind. This is the case with dialogue and sound as well, where a current scene will feature previous or future aural snatches. The director also splices in scenes from Wilson's memory banks to marry up the emotional discord, while also deftly using scenes from Stamp's performance in 1967 film Poor Cow (Ken Loach) to show the youthful Wilson from happier times.

If this all sounds like style over substance? Then it is, but The Limey rises above this issue because elsewhere there's other great rewards.
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By Call me Al TOP 1000 REVIEWER on 15 April 2015
Format: DVD
Having spent much of his adult life in prison, Terence Stamp’s hardened cockney criminal Wilson is not a man to get on the wrong side of. When he receives news that his estranged daughter Jenny has been killed in a car crash in Los Angeles he travels across the pond to investigate the circumstances behind her death. Although obviously a fish out of water, he is certainly not out of his depth and as this predatory shark efficiently disposes of a gang of criminals he allows the youngest to live giving him a message to pass on - “You tell him. I’m coming”. The ‘him’ is Peter Fonda’s sleazy aging rock music producer, involved with drugs and money laundering and Jenny’s lover. Wilson is at ease with this underworld and determinedly stakes out his prey, ready to strike. However, this is more than a simple revenge movie. Steven Soderbergh’s skilful directing and non-linear narrative elevates the film and subtly presents a poignant assessment of Wilson’s own life, as he reflects on his shortcomings as a father. Stamp gives a masterful performance as this intense Englishman abroad full of grief, guilt and anger trying to resolve his inner demons.
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By A Customer on 1 April 2003
Format: DVD
Steven Soderberg's portrait of a British career criminal in the US of A begins with a dark, imageless screen and a few words of dialogue, spoken fiercely: "Tell me about Jenny". And so the 'The Limey' begins, the audience asking questions from the opening seconds: Who is Jenny? Who wants to know about her? Why are they angry? This relatively low-key, smoothly and masterfully paced crime-drama works slowly and steadily towards answering all of the questions it poses, while remaining ambiguous and intriguing even after the credits have rolled: 'The Limey' is the sort of film that stays with you for a while after you've watched it.
Terence Stamp gives a fine, award-worthy performance as a man who is looking to find out how and why his daughter died. His techniques are varied, but he never holds back, and is adamant that he will learn the truth. Watching how he learns the truth is what holds your attention: you can't take your eyes of Stamp who (to repeat the above sentiment) is brilliant, and an inspired piece of casting. The part of Wilson is written with wit and humour (think Cockney-rhyming slang, and utterly perplexed Americans), violence and brutality, and Stamp has no problem dealing with both. Through Stamp's performance Wislon becomes a genuinely frightening cinematic creation, moving easily from the calmly passive to the madly aggressive. He is not just a 'tough-guy', he is a believable, plausible one (albeit one who in many ways remains an enigma).
'The Limey' also shows director Soderberg at his technical and artistic best; this is a film so well produced that it flows almost too naturally: no jagged edges, no visible signs of construction, no shoddy workmanship, only great production values, from top to bottom.
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