Da 5 Bloods
On the Record
I May Destroy You
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There isn’t much story to Vanishing Point. It’s a movie about a guy who is delivering a car 3 states away and he’s determined to get it there on time, despite the fact that police are trying to chase him down for reckless driving. The way he puts so many lives at risk doesn’t exactly make him endearing for me, even though they always make a point of showing that he hasn’t actually hurt anyone. There are some interesting elements to his journey, but in general I found Vanishing Point to be flat and dull. All the little stops along the way feel like a time capsule of what was going on in the nation back in the mid-to-late 1970s, which I suppose is worthwhile for some people but it never developed his character any further which was something I needed in order to care more about the story. I’m not a big car guy, so watching a 90 minute car chase doesn’t do much to intrigue me. I liked some of the stunts, but when they spent long stretches of time just driving down the road I was bored. To be honest, I was more interested in Cleavon Little as the DJ who was trying to help the protagonist on his journey. The way he latches onto this story and creates a sort of folk hero out of this lone man on the run was the best part of Vanishing Point. Barry Newman was quite cold and distant, so it was hard to connect with him as a protagonist anyways. There were a few fun characters that he met along the way, but in general Vanishing Point was nothing more than a decent snapshot of the 1970s, and otherwise it felt like a lackluster movie.
Well it's a classic, and for good reason. I've been meaning to watch this movie for over a decade and finally did it and I'm so thankful that I did. It's a balls out love letter to muscle cars, with awesome police chase scenes. Kowalski is so bad ass. The car is even badder. There's no plot or character development etc... it's almost a police chase from beginning to end. If you're a fan of car movies, watch the original one: Vanishing Point.
Really great example of the action drama.
An interesting observation of one man's quest to arrive at "point-B" without any concern of how he gets there is worth the time to watch. And especially, if you are a fan of fast cars and spectacular chase scenes then this flick is just what the doctor ordered.
Why is Barry Newman not featured on this page, and then checking out his page Vanishing Point doesn't appear on his list credits? WTF?
An early 70's road movie. Former policeman and war hero is now in a new business. He transport hot cars. Fast. He drives empty desert roads with no rest, just some speed and gas. Police is crawling up his tail and he follow some of the action behind him on radio where a show got some inside information and broadcast it.
This is a solid car film. The car is amazing, the roads are great and I dig the music. Weird people show up all the time and it's a fun little ride that never seem repitative or dragging. Cool acting and some sweet scenes and a competitor to "Duel", a very similiar film in many ways that also came out in 1971. This is not as great, but not far from it.
7 out of 10 naked ladies on motorbikes.
Fantastic existentialist and allegorical car chase movie. Really. One well worth catching.
This 70's cult classic gets better with age. It's not only the greatest car chase film of all time, it's a glimpse into early 1970's counter culture. As Super Soul says, Kowalski is the 'Last American Hero' - the last free soul lost in a country he no longer can exist in. The film has themes much deeper than it's credited for and if you watch it on bluray, give the commentary by director Richard C. Sarafian a listen.
Saw in 1972 and didn't really think about until a few years ago. Itunes wasn't renting and trying to order in Canada was a no go through DVD shops. Finally found one on Amazon at the same time I found a copy of Traffic (2000). I ordered both since iTunes doesn't rent either of them. 46 years later it is still a great movie.
Uncritical nihilistic narcissism and gear-head egoism masquerading as an avant-garde existentialist piece of cinematic poetry; in truth, it's philosophy is didactic and shallow, a promising premise undeveloped. This is not MAD MAX: FURY ROAD, a film that similarly is structured as one long car race, but which, underneath its revolving rims and revving engines, is visually surreal, politically engaged, and philosophically challenging-subjective freedom means social responsibility and personal destitution. While VANISHING POINT cleverly draws upon the desert, the horizon, and the traffic line as metaphors for modern alienation and the compulsion toward nothingness that is the Freudian death drive, the movie fundamentally misunderstands these concepts and so reactively resorts to the typical lone wolf, "last American hero" archetype that offers no escape from alienation, but is its own retroactive cause. Thus the slow and limited drip of narrative information and character background that we are privy to-which is the most interesting
and creative aspect of the movie-ends up feeling less like a realization of the "existence precedes essence" mantra, instead seeming to bely the confusion over what exactly that means.