Point Blank (1967)
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as Frederick Carter
as Mal Reese
as Hired Gun
as Mrs. Carter
as 1st Citizen
as Carter's Man
as Car Salesman
as Penthouse Lobby Guard
as Football Player
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Critic Reviews for Point Blank
There are moments of breathtaking visual creativity, from the not-quite-freeze-frames over the opening credits to a series of confrontational close-ups when things turn violent.
It gets back into the groove of Hollywood thrillers, after the recent glut of spies, counterspies, funny spies, anti-hero spies and spy-spier spies.
A dazzling concerto of colors and syncopated sounds in which a bad man briefly returns to the living, and then disappears back into darkness.
An almost experimental discourse on crime, punishment and revenge brilliantly shot by Philip H. Lathrop.
Audience Reviews for Point Blank
Walker (Lee Marvin) is shot and left for dead by his partner during a heist; he survives and returns to demand the mob return the money he's owed, fighting his way up the ladder until he reaches the top man. There's star power and style to burn in this often overlooked early film from John Boorman that perfectly balances arthouse cool with gritty action.
Discordant editing, jarring violence, and an angular storyline give Point Blank it's unique 60s cross between french new wave cinema and classic film noir. Lee Marvin is the guy who is betrayed and left for dead by his partner over the sum of $90,000. While it's not exactly chump change today, it would've been a small fortune back in the days of the film's setting. At first, it seems as if he's after revenge alone, but it quickly becomes obvious he's after his money. With the help of a mysterious benefactor, he tracks down his wife, who along with his former partner betrayed him. She has no idea where he is, only that she's sorry and wishes to die. When he finally does find the former partner (with the help of his sister-in-law, as played by Angie Dickinson), it turns out it's only the beginning of his journey for justice. Is Lee Marvin's "Walker" character insane? Some automaton bent on achieving a goal that has long since lost all meaning? As Dickenson exclaims in one scene "You really did die at alcatraz". There are moments of surrealism, dreamlike moments where things don't make a whole lot of sense. Walker may be motivated by hatred, but there's very little emotion to what he does. He's a broken man, a monster.
Lee Marvin kicks so much ass in this neo-noir, genre bending crime classic.
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