An ex-con, fresh out of prison, goes to L.A. to try to learn who murdered his daughter. However, he quickly finds that he is completely out of place with no understanding of the culture he finds. His investigations are helped by another ex-con. Together they learn that his daughter had been having an affair with a record producer, who is presently having an affair with another young woman. An aging actress, who also knew his daughter, forces him to look at his own failures as a father. The movie does focus on the drama of the situation and the inter-relationships of the characters and seldom slips into an action piece. Written by
John Sacksteder <firstname.lastname@example.org>
[looking at view]
Yeah, if you can afford a house like this you buy a house like this, you know?
[peering over railing]
What are we standing on?
You know, you could see the sea out there, if you could see it.
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I always thought the Russian Montage Theory was too outdated for modern cinema, but Steven Soderbergh had other ideas. The Limey had one of the more interesting editing styles I have ever seen, which is why it probably threw so many people in a loop. Its too bad we will never see another film like this from Soderbergh, considering he's probably going to keep making films like Oceans 11. Terence Stamp was especially good in this film, and Luis Guzman provided one of the best screen roles by a Mexican-American. What I especially enjoyed about this movie wasn't just the unique editing style, it was how it affected the emotional standpoint within the movie. You felt distanced, unsure how to look at this film due to the range of images passing before your eye. One of the more unappreciated films of 1999, especially when one looks at the amazing body of work which came out that year.
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