| 100 |
Entertainment Weekly
A small cubist masterpiece about crime and punishment set in that most split-level of environments, Los Angeles.
|
| 100 |
San Francisco Examiner
Makes a term like neo-noir seem like a fatuous catch phrase.
|
| 100 |
Portland Oregonian
A near-perfect movie.
|
| 100 |
San Francisco Chronicle
A first-rate crime thriller and further proof that Soderbergh is one of our great contemporary film stylists.
|
| 90 |
Film.com
One of the best films seen in many years about the mysterious workings of time and memory.
|
| 89 |
Austin Chronicle
The work of a fine craftsman and artist.
|
| 88 |
USA Today
One of those movies in which pacing, dialogue and the right actors enliven a familiar story.
|
| 88 |
Philadelphia Inquirer
The pleasure of The Limey lies in watching what actors who have aged like fine wine can do in that world.
|
| 88 |
New York Daily News
Stamp, whose ability to make Wilson simultaneously coarse and charismatic is irresistibly entertaining.
|
| 88 |
Chicago Tribune
Intoxicatingly well-crafted entertainment about hunting down your enemy.
|
| 80 |
Dallas Observer
More 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.
|
| 80 |
Salon.com
An art noir that courts pretension but just manages to keep from succumbing to it.
|
| 80 |
Rolling Stone
A mesmerizing mood piece.
|
| 80 |
Los Angeles Times
A solid genre film that offers the satisfactions of the familiar while deriving its resonance through its specific and telling references to the '60s.
|
| 75 |
Miami Herald
Style 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.
|
| 75 |
New York Post
It's clever, cool fun and it looks great.
|
| 75 |
Christian Science Monitor
The violent story is standard "film noir" fare, but Soderbergh treats it with oomph and imagination.
|
| 75 |
Baltimore Sun
A wonderfully complex character at the center of a gratifyingly satisfying yarn.
|
| 75 |
Chicago Sun-Times
In its quiet and murderous way, it is like the delayed final act of an old movie about drugs, guns and revenge.
|
| 70 |
The New York Times
Janet Maslin
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.
|
| 70 |
Film.com
Tender souls who don't like a lot of noise and violence should probably stay away from this very in-your-face film.
|
| 70 |
Washington Post
(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.
|
| 70 |
TV Guide
This intelligent, oddly aloof thriller is a worthy follow-up to director Steven Soderberg's "Out of Sight."
|
| 70 |
Chicago Reader
A highly enjoyable and offbeat thriller.
|
| 67 |
Mr. Showbiz
It's such an accomplished, beguiling film in its details that you almost don't notice that the story is scattershot, arbitrary, and thin -- almost.
|
| 65 |
TNT RoughCut
Soderbergh, like Tarantino, has a knack for making every shady character onscreen fascinating.
|
| 63 |
Boston Globe
Can't outrun its very visible limits.
|
| 60 |
Village Voice
A jaggedly impressionistic reverie.
|
| 60 |
Variety
One has no problem praising the bravura acting of the entire ensemble.
|
| 60 |
Film.com
Perhaps you have to have lived through the 1960s to relate.
|
| 40 |
LA Weekly
A disappointed meditation on the '60s.
|
| 40 |
Time
Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
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