- Critic Score
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100A first-rate crime thriller and further proof that Soderbergh is one of our great contemporary film stylists.
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100Makes a term like neo-noir seem like a fatuous catch phrase.
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100A small cubist masterpiece about crime and punishment set in that most split-level of environments, Los Angeles.
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100A near-perfect movie.
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90One of the best films seen in many years about the mysterious workings of time and memory.
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89The work of a fine craftsman and artist.
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88Intoxicatingly well-crafted entertainment about hunting down your enemy.
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88Stamp, whose ability to make Wilson simultaneously coarse and charismatic is irresistibly entertaining.
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88The pleasure of The Limey lies in watching what actors who have aged like fine wine can do in that world.
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88One of those movies in which pacing, dialogue and the right actors enliven a familiar story.
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80An art noir that courts pretension but just manages to keep from succumbing to it.
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80A mesmerizing mood piece.
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80More involving and intriguing than any by-the-numbers studio thriller. In large part, it holds our interest because of its stylistic boldness, not despite it.
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80A solid genre film that offers the satisfactions of the familiar while deriving its resonance through its specific and telling references to the '60s.
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75In its quiet and murderous way, it is like the delayed final act of an old movie about drugs, guns and revenge.
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75The violent story is standard "film noir" fare, but Soderbergh treats it with oomph and imagination.
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75Style is the main attraction in The Limey -- it's as close to experimental filmmaking as mainstream movies get -- but the film works well when taken simply as a pure revenge drama, too.
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75It's clever, cool fun and it looks great.
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75A wonderfully complex character at the center of a gratifyingly satisfying yarn.
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70This intelligent, oddly aloof thriller is a worthy follow-up to director Steven Soderberg's "Out of Sight."
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70Tender souls who don't like a lot of noise and violence should probably stay away from this very in-your-face film.
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Among Soderbergh's widely varied films ("sex, lies and videotape," "Kafka," "The Underneath," "Schizopolis," "Out of Sight"), this one actually has the best chance of becoming anyone's sentimental favorite.
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70(Stamp and Fonda's) polar-opposition in acting styles and temperament, their cultural differences and their pop-cultural synergy come together with almost delicious cacophony.
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70A highly enjoyable and offbeat thriller.
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67It's such an accomplished, beguiling film in its details that you almost don't notice that the story is scattershot, arbitrary, and thin -- almost.
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65Soderbergh, like Tarantino, has a knack for making every shady character onscreen fascinating.
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63Can't outrun its very visible limits.
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60A jaggedly impressionistic reverie.
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60Perhaps you have to have lived through the 1960s to relate.
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60One has no problem praising the bravura acting of the entire ensemble.
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40A disappointed meditation on the '60s.
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40Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
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User score distribution:
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Positive: 3 out of 5
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Mixed: 1 out of 5
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Negative: 1 out of 5
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ClaytonL.4Terrible. Another gangster movie with unconvincing actors.
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JoelW.10
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RichR.10