STARRING: Terence Stamp, Peter Fonda, Lesley Anne Warren, Barry Newman and Nicky Katt

Who knew Terence Stamp could be a bad ass? Sure, he was a little menacing as General Zod in the Superman movies, but how scary can you really be in a vinyl kimono and tights? He's definitely a tough guy in "The Limey," the latest from Director Steven Soderbergh ("Out of Sight"). Stamp plays a British ex-con named Wilson searching LA for his daughter's killer. In addition to causing some serious damage, he brings depth and humanity to this tale of revenge and redemption.

This role is a breakthrough for Stamp, whom I've always seen as a rather stiff performer. Even when he played a transvestite in the drag queen comedy "The Adventures of Priscilla, Queen of the Desert," he came across as pretty dry. Lately, he's been playing it safe with turns as noble authority figures like Chancellor Valorem in "Star Wars: Episode 1: The Phantom Menace." These more recent parts just don't prepare you for the power he unleashes as a grieving father seeking justice. Stamp is funny one moment, sad the next, and then suddenly -- unexpectedly -- dangerous. It's a real eye-opener for an audience who knows him mainly as the campy villain of "Superman II."

Stamp is funny one moment, sad the next, and then suddenly -- unexpectedly -- dangerous.

Wilson is a weary career criminal, one who has spent half his life in prison. He comes to LA not only to avenge his daughter, but also to come to terms with his wasted life. In flashbacks and scenes with his daughter's friends, you learn how much Wilson regrets his choices. When he finally confronts her killers, you feel that he's also facing down his own violent past. Violence is ever present in this film, but is never gratuitous. Soderbergh and Screenwriter Lem Dobbs (who also penned Soderbergh's "Kafka") achieve great impact by staging the most violent acts either off-stage or in the background.

Soderbergh has crafted an exceptional follow-up to 1998's smart, funny and sexy "Out of Sight." In his latest work, he continues to use the loopy continuity he perfected in the earlier film. Flashbacks and flash-forwards give the movie a hip, breezy feel while also providing nuggets of plot one image at a time. Soderbergh also successfully incorporates bits from one of Stamp's earlier films -- Director Ken Loach's "Poor Cow" -- for shots of Wilson in his prime. These moments are so much more compelling than using a younger actor for the flashbacks. They give the film a sense of history as they play Stamp off his younger self.

I've been enjoying Soderbergh's work since he was discovered at the 1989 Sundance Film Festival with "Sex, Lies, and Videotape." If you haven't seen that flick in awhile, I suggest you rent it again. Not only for its moments of sly black comedy, but also to see Soderbergh pull engaging performances out of personality-challenged actors like Laura San Giacomo, Andie McDowell and James Spader. He's directed an eclectic list of films in the last 10 years -- from the surreal "Kafka" to the under-rated "The Underneath" -- and they show his journey from promising newcomer to gifted pro. With "Out of Sight," Soderbergh showed a talent for funny, character-driven crime movies, which he further develops in "The Limey."

Like Roman Polanski's "Chinatown" or Curtis Hanson's "L.A. Confidential," Soderbergh uses California locations to great result -- creating a film that could be categorized as "LA Noir." The sun-drenched locations contrast wonderfully with the dark subject matter. Many of the characters are products of their environment, such as the aging actress played by Lesley Anne Warren ("Victor/Victoria"), Peter Fonda's smarmy record producer or the cynical henchman played by Nicky Katt (Clint from "Dazed & Confused"). Katt makes the most of a small role, breathing new life into the cliché of the hired gun. He has a particularly humorous diatribe against the TV industry that could only take place in LA. Katt holds his own against a cast of strong, mature players.

Fonda's aging golden boy looks are also perfect for this vain has-been in the midst of a prolonged mid-life crisis.

As I've mentioned in other reviews, today's movies are so youth-obsessed that you start to wonder if anybody over 40 still makes movies. One of this film's greatest strengths is its use of a seasoned cast. Stamp, Warren, Fonda and Barry Newman ("Bowfinger") bring a touch of class to their roles. Besides Stamp, Fonda delivers the best work in this film as Terry Valentine, Wilson's daughter's boyfriend.

Valentine is a sixties' relic desperately trying to hold onto his salad days. Fonda's own history as a hippie hellraiser provides an interesting subtext for his character. His aging golden boy looks are also perfect for this vain has-been in the midst of a prolonged mid-life crisis. But there's more to this character than personal baggage and good looks. Fonda's work just in this movie's climax alone will prove to any naysayer that his Oscar-nomination for "Ulee's Gold" was no fluke. He has grown into an actor of great range and emotion.

"The Limey" will be remembered not only as a funny, kick-ass crime movie, but also as a showcase for Terence Stamp's hidden talents. He delivers a passionate, multi-layered performance that will surprise many viewers. Stamp and Peter Fonda prove that actors over 50 can play more than just the gruff and lovable uncle or the dignified patriarch. Together with Steven Soderbergh and Lem Dobbs, they have made a powerful, contemporary film noir that says you're never too old for a second chance.

Videos & Soundtracks

Filmboy Recommends: Chinatown

Filmboy | Message Board | E-mail Filmboy