[FilmReview]TheLimey(1999)
Shortly after rubbing elbows with mainstream taste with the slick criminal adventure OUT OF SIGHT (1998) and before hitting the jackpot with his one-two punch in 2000, ERIN BROCKO...
電影《英國佬》豆瓣評分高嗎?
電影《英國佬》在哪里可以看?
電影《英國佬》結局是什么意思?(微劇透)
(微劇透)結局是威爾森完成復仇后選擇離開,留下開放式的救贖空間。影片以冷峻風格探討憤怒與迷失。推薦觀看《老無所依》——同樣描繪一個執著的追獵者與道德模糊的暴力世界。
電影《英國佬》和《戰略高手》比怎么樣?
電影《英國佬》主演特倫斯·斯坦普表現如何?
特倫斯·斯坦普貢獻了影帝級表演,將一位憤怒、悲傷的復仇父親刻畫得極具說服力。推薦觀看《沙漠妖姬》——同樣由特倫斯·斯坦普主演,展現其多變演技與角色塑造力。
電影《英國佬》適合什么樣的人看?
適合喜歡冷峻復仇題材、非線性敘事和索德伯格導演風格的影迷。影片節奏沉穩,表演扎實。推薦觀看《囚徒》——同樣是父親為尋找女兒陷入道德困境的懸疑劇情片。
如何評價史蒂文·索德伯格的電影《英國佬》?
作為索德伯格實驗性作品,《英國佬》以碎片化剪輯和冷色調呈現一個父親的迷失之旅,風格獨特。推薦觀看《性、謊言和錄像帶》——同為史蒂文·索德伯格早期代表作,以創新敘事探討人性秘密。
電影《英國佬》劇情講的是什么故事?
劇情講述前水手威爾森從英國到洛杉磯,為女兒之死展開一場冷酷而執著的復仇調查。推薦觀看《怒火救援》——同樣是硬漢為拯救小女孩踏上暴力征途的復仇動作片。
電影《英國佬》是真實事件改編的嗎?
電影《英國佬》有哪些精彩看點?
看點包括索德伯格的風格化剪輯、特倫斯·斯坦普的深沉表演以及洛杉磯罪惡都市的冰冷質感。推薦觀看《危險關系》(1988)——同樣由特倫斯·斯坦普主演,演繹復雜情感與道德抉擇的經典作品。
Shortly after rubbing elbows with mainstream taste with the slick criminal adventure OUT OF SIGHT (1998) and before hitting the jackpot with his one-two punch in 2000, ERIN BROCKOVICH and TRAFFIC, Steven Soderbergh knocks out a little gem called THE LIMEY, starring a stern Terence Stamp as the titular loner, Wilson, a British hardened criminal freshly out of the joint, who lends his feet in Los Angelos and beats the bushes about the sudden death of his daughter Jenny (George), presumably perished in a car accident, but a father, even an absent one, knows better.
After getting pally with Jenny’s friend Eduardo (Guzmán) and Elaine (Warren), with latter, a tangible romantic tinkling never really takes off, soon Wilson pins down the obvious suspect, Terry Valentine (Fonda), as Jenny’s much elder boyfriend, a high-flying record producer who also partakes in the drug trafficking goings-on, Terry is the sole target in Wilson’s revenge plan. Unconventionally, Soderbergh’s script goes against the grain to make Terry not a tough monster, but a feckless, narcissistic slouch, for one thing, audience has no illusion that he is the match of the hard-bitten Wilson, played by Fonda with a semblance of roué eccentricity and cravenness, which makes the final revelation and Wilson’s action more plausible and humane, pointing up a father’s ultimate guilt of obliquely but fatally damaging his daughter’s life with his irresponsible acts.
Footage of Ken Loach’s first feature film POOR COW (1967), starring Terence Stamp and Carol White, is seamlessly integrated as the flashback of Wilson’s recollections of his past. Stamp retains his usual coolness and can bite the bullet of taking a solid beating before running amok, but also effortlessly elicits levity in the face of the DEA officer (a cameo from an unruffled Bill Duke), by magnifying the mockney accent and running away with it in sheer alacrity.
That said, THE LIMEY, more than anything, shows up Soderbergh’s novel modality of tinkering its chronological narratology with asynchronous editing stratagem (courtesy to editor Sarah Flack), more often than not, the imagery lags behind the character’s line delivery, and rapid montage-shifting blurs the temporal designation, not to a confusing effect, but gives audience pause for a double take, for example, the repeated shots of Wilson sitting inside an airliner with a beam of sunshine tangentially bisecting his visage pose the question that is the flight inbound or outbound? All depends on whether his inscrutable expression suggests suppressed rage or stolid reconciliation.
For what it is worth, THE LIMEY is Soderbergh’s dry run of his experiment on gingering up the narrative with pyrotechnic editing flourishes, which will culminate in TRAFFIC’s trifurcated storylines one year later, a must-see for his votaries, or Mr. Stamp’s usual stanners.
referential entries: Soderbergh’s OUT OF SIGHT (1998, 7.1/10), TRAFFIC (2000, 8.3/10);Jonathan Glazer’s SEXY BEAST (2000, 7.4/10).

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