SOURCE: Steyn, Mark. “Salute to the Sixties.” Spectator 283, no. 8940 (11 December 1999): 72–73.

In the following review, Steyn argues that Soderbergh's visual style in The Limey successfully portrays the workings of the main character's mind throughout the film.

Terence Stamp is The Limey; Peter Fonda is, well, the slimey—a scaly music biz exec Stamp flies to California to do battle with. It's a kind of Mod vs Rocker Seniors' Tour—or, to quote a prescient malapropism one of the elderly teachers delivered years ago in Please, Sir!, this is the aging of the dawn of Aquarius. Sixties people are always Sixties people, and The Limey's director, Steven Soderbergh, is clever enough to tap into all the baggage that Stamp and Fonda bring with them. So, for his title character's back-story, he simply lifts chunks of Poor Cow, Ken Loach's 1967 debut, in which beautiful young Terence larks around with bottled...