I like Soderbergh's style-it takes you back to European filmmaking of the 60s and 70s. If I were in Soderbergh's shoes I too would like to reminisce about Point Blank, Get Carter, the Killers and the Ken Loach movies. But is it enough to put together great actors, use intelligent editing, some above average songs of the 60s, to make a top-notch movie today?
There are flaws all over. The character of Lesley Ann Warren is never developed but used to develop the title character. The much talked about cockney accent and the `you wrote me (sic)' dialogue does not sound natural with Stamp. When he spoke his lines it was as though he was making an effort to do so. Stamp is great when he does not talk much-recall `Far from the Madding Crowd'. He has great screen presence. But he is not a Richard Burton who can mesmerize you with spoken words.
And the violence-was it necessary? Point Blank, the Killers and Get Carter had better violent effect even though their directors did not show as much violence, especially in the first half. I feel Soderbergh and violence do not fit-he is best doing what he does best documenting characters on celluloid, e.g.., the superb DEA head and Wilson dialogue scene and the scenes in the economy class window seat in the airplane with mere voice-overs.
Soderbergh remains an important director for an intelligent viewer today among contemporary US directors. However, `The Limey' does not prove that he has developed much beyond what he had already achieved in `sex, lies and videotape'. In fact this film shows his inadequacies.
There are flaws all over. The character of Lesley Ann Warren is never developed but used to develop the title character. The much talked about cockney accent and the `you wrote me (sic)' dialogue does not sound natural with Stamp. When he spoke his lines it was as though he was making an effort to do so. Stamp is great when he does not talk much-recall `Far from the Madding Crowd'. He has great screen presence. But he is not a Richard Burton who can mesmerize you with spoken words.
And the violence-was it necessary? Point Blank, the Killers and Get Carter had better violent effect even though their directors did not show as much violence, especially in the first half. I feel Soderbergh and violence do not fit-he is best doing what he does best documenting characters on celluloid, e.g.., the superb DEA head and Wilson dialogue scene and the scenes in the economy class window seat in the airplane with mere voice-overs.
Soderbergh remains an important director for an intelligent viewer today among contemporary US directors. However, `The Limey' does not prove that he has developed much beyond what he had already achieved in `sex, lies and videotape'. In fact this film shows his inadequacies.