Started by Something Spanish, March 31, 2018, 04:59:34 PM
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Quote from: Something Spanish on March 30, 2019, 09:18:32 AMWent for The Limey over a two night period, having not seen it since theatrical release, when I was too green to appreciate it. Damn if that doesn't deserve a slot among 99's best. As refreshing a rinse to the revenge genre as one can hope for, Soderbergh's use of experimental editing techniques and new ways of depicting scenes we've seen hundreds of times before contribute to the sheer entertainment factor of this terse, even slightly emotional, thriller. Stamp, as the mean limey bastard, rocks hard. The footage used from Loach's Poor Cow, where Stamp was 30 years younger, have an overwhelming effect when woven into the story. Incredulously, I slept on this one for almost 20 years, shrugging the movie off as an undercooked potboiler. Soderbergh's tampering with conventions is rarely a misfire, in fact, I can't think of single one of his I dislike, having seen about all if them. Peter Fonda's presence serves as an appropriate reminder of that yearning for a bygone era, here it's the 60's, when everything changed, felt meaningful. The Limey is tinged with these reminisces, even the driving force of seeking answers to Stamp's daughters death has an unaddressed wonder of lost youth, an attempt to reclaim the past. Criterion needs to get on this one.
Quote from: eward on March 30, 2019, 10:49:53 AMYeah man, I've long been a fan of this one! Sod's output between Sex Lies and Erin Brok/Traffic is sadly under-appreciated. So many great little character moments sprinkled throughout (especially with Luis Guzman and Nicky Katt). "You tell him, you tell him I'm coming. Tell him I'm fucking comiiiiiiiiiiiiiiiing!" Good shit.
Quote from: Something Spanish on October 11, 2019, 11:46:43 AMwatched 35 Shots of Rum last night, and now completely understand the love for Denis, such a simple, endearing, warm hearted movie. If her other stuff is half as good I'll be a happy film camper. that sad French sounding score thumped the sympathy buttons on every cue. the understated father/daughter relationship crept in my emotional chamber, waiting for that final moment to pull levers of awe. I love movies that hit you when the end credits roll, all along you're thinking, yeah, this is good, but just as it ends you're like, fuck that was GREAT. nice little Ozu homage that carries its own weight.
Quote from: Something Spanish on October 11, 2019, 11:46:43 AMalso earlier this week I watched Night and the City, which is easily one of the best noirs I've ever seen. Richard Widmark is a bolt of adrenaline, just as incinerating performance.