In an effort to rejuvenate my thirst for film I have partaken on an ambitious endeavor. I have decided to compile my list of 100 favorite films, rewatch them, and write a brief review. I encourage you to follow along.

97.

The Limey (Soderbergh, 1999)

A loss can lead one down a bizarre and twisted path where reality bends like light through glass, and we find comfort in repeating ourselves. The half smile memories play on fuzzy faded film over and over until they aren’t memories at all, but habits to remind us to remember. And there are cold comforts found in our anger and confusion, and a desperate logic we reach for. And while burning our crazed effigies, we scarcely stop to wonder what ends we’ll meet.

There is an immortality in great sorrow, and Terrence Stamp’s character of Wilson finds it briefly in The Limey. He is a man in a desperate search for redemption. His eyes are flooded with rage, but beneath his rage is the heavy blue of regret and melancholy. He is on a personal twisted path of mourning. Nothing can touch him but the faded memories of a daughter he never really knew.

Steven Soderbergh’s almost erratic style in this film seems to capture the erratic nature of Wilson’s journey. He plays out the entire film directly through the perspective of Wilson. Sometimes we aren’t clear as to what is happening in “reality” and what is happening in his mind. Often we will see brief flutters of characters seemingly unaware of the gazing eye, as if these moments are happening exclusively in the mind of Wilson. They are his impressions of them, they are what he sees them as.

Soderbergh strikes at the heart of an angry man foolishly yearning to make up for all of his mistakes, and he captures the sentiment buried deep within this yearning beautifully through colorful flashbacks, and moments of quiet sadness alone with Wilson.

– James Merolla

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