Limey, The

Entertainment Weekly Lisa Schwarzbaum

A small cubist masterpiece about crime and punishment set in that most split-level of environments, Los Angeles.

San Francisco Examiner Wesley Morris

Makes a term like neo-noir seem like a fatuous catch phrase.

Portland Oregonian Shawn Levy

A near-perfect movie.

San Francisco Chronicle Edward Guthmann

A first-rate crime thriller and further proof that Soderbergh is one of our great contemporary film stylists.

Film.com Tom Keogh

One of the best films seen in many years about the mysterious workings of time and memory.

Austin Chronicle Marjorie Baumgarten

The work of a fine craftsman and artist.

USA Today Mike Clark

One of those movies in which pacing, dialogue and the right actors enliven a familiar story.

Philadelphia Inquirer Desmond Ryan

The pleasure of The Limey lies in watching what actors who have aged like fine wine can do in that world.

New York Daily News Jack Mathews

Stamp, whose ability to make Wilson simultaneously coarse and charismatic is irresistibly entertaining.

Chicago Tribune Michael Wilmington

Intoxicatingly well-crafted entertainment about hunting down your enemy.

Dallas Observer Andy Klein

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.

Salon.com Charles Taylor

An art noir that courts pretension but just manages to keep from succumbing to it.

Rolling Stone Peter Travers

A mesmerizing mood piece.

Los Angeles Times Kevin Thomas

A solid genre film that offers the satisfactions of the familiar while deriving its resonance through its specific and telling references to the '60s.

Miami Herald Rene Rodriguez

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.

New York Post Jonathan Foreman

It's clever, cool fun and it looks great.

Christian Science Monitor David Sterritt

The violent story is standard "film noir" fare, but Soderbergh treats it with oomph and imagination.

Baltimore Sun Ann Hornaday

A wonderfully complex character at the center of a gratifyingly satisfying yarn.

Chicago Sun-Times Roger Ebert

In its quiet and murderous way, it is like the delayed final act of an old movie about drugs, guns and revenge.

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.

Film.com Peter Brunette

Tender souls who don't like a lot of noise and violence should probably stay away from this very in-your-face film.

Washington Post Desson Thomson

(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.

TV Guide Maitland McDonagh

This intelligent, oddly aloof thriller is a worthy follow-up to director Steven Soderberg's "Out of Sight."

Chicago Reader Jonathan Rosenbaum

A highly enjoyable and offbeat thriller.

Mr. Showbiz Michael Atkinson

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.

TNT RoughCut Christopher Brandon

Soderbergh, like Tarantino, has a knack for making every shady character onscreen fascinating.

Boston Globe Jay Carr

Can't outrun its very visible limits.

Village Voice J. Hoberman

A jaggedly impressionistic reverie.

Variety Emanuel Levy

One has no problem praising the bravura acting of the entire ensemble.

Film.com John Hartl

Perhaps you have to have lived through the 1960s to relate.

LA Weekly Ella Taylor

A disappointed meditation on the '60s.

Time Richard Corliss

Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.