The voice belongs to a hard-edged Brit named Wilson (Terence Stamp, Episode One), who has just served a nine-year prison sentence for "wealth redistribution." Wilson is headed to Los Angeles in an attempt to learn more about the death of his daughter Jennifer (Melissa George, ROAR), who was killed in a car crash on the famed Mulholland thoroughfare. The cops believed the crash to be accidental, but Wilson suspects foul play after receiving a letter in the clink that his daughter really died under mysterious circumstances. He has little to go on – just the name and address of the man that sent the letter.

The opening credits show a very effective, choppy montage of Wilson on the plane, in the airport, in a cab and in his hotel. He seems to become more enraged the closer he gets to LA, pacing the floor of his hotel like a crazed tiger and smoking like it’s going out of style. He begins his investigation with Ed (Luis Guzmán, OZ), a Latino who took acting classes with Jenny and the author of the letter. Ed can only give Wilson the name of Jenny’s last boyfriend, adding that he may be able to find more information at a truck warehouse in a deserted section of the city.

Before heading to the warehouse, Wilson stops off at a grammar school to stock up on firearms. He finds the warehouse and charges in like a bull in a china shop, only to end up badly beaten and bloodied on the curb of the shady business. But Wilson doesn’t give up easily and manages to track down Jenny’s acting/voice coach Elaine (Lesley Ann Warren, Teaching Mrs. Tingle). He eventually finds his daughter’s ex, a wealthy record producer named Terry Valentine (Peter Fonda, The Tempest).

While Wilson is shown blazing a trail through the seedy crime world of Los Angeles, Soderbergh (Out of Sight) deftly edits clips of a nearly unrecognizable Stamp in a 1967 Ken Loach film called Poor Cow, showing the arc of Wilson’s character as he moves from peace-loving hippie to vengeful criminal. Adding to The Limey’s nostalgia is Valentine, who made a name for himself during the ‘60s music scene and openly longs for a return to those simpler times. The casting of Stamp and Fonda is even a bit nostalgic, as is the closing display, where a much mellower Stamp covers Donovan’s "Colours" in a scene taken from Poor Cow.

Soderbergh’s direction is top-notch, showing cleverly edited scenes repeatedly flashed forward and back (a la Homicide) and refusing to shy away from the film’s violence. Credit cinematographer Edward Lachman and editor Sarah Flack for creating a believable look to the picture. Written by Dark City scribe Lem Dobbs, The Limey is also chock full of fantastic acting, especially Stamp and Barry Newman (Bowfinger), who has a wonderful supporting role as Valentine’s bad-ass right-hand man. The music is fantastic and the film even shows Soderbergh’s Out of Sight alumni George Clooney in an "Access Hollywood" spoof.

In short, The Limey is a fantastic crime thriller. My only complaint is that it wasn’t longer.

1:30 - for mega-violence, adult situations and language