One of the most visually stunning crime films of the 1960's. Beautifully composed frames, many using Modern Architectural elements as the basis to frame the composition, in a way that really makes this an artistic statement and in a way, even a document, at the same time being a hard-hitting crime picture. Also a number of images are psychedelic-influenced. Family Movie Day, 7 Aug 2017, projected in 1080p. 4.4 stars.
Noirs can be confused with their complicated plots, but here the setup is straight-forward, yet with a very dreamlike, stream-of-conscious editing style that makes you lose your bearings in its sequencing and doubting its truth. Marvin's anti-hero oddly alludes to the greed-driven, emotional vacancy of the Beowulf character, uselessly fighting for fame and fortune, while its fragmentation mirrors his damaged psyche.
A ferociously sexy fever dream of fragmented memories, POINT BLANK is 60s post-modernism dressed up as crime film. Possibly an inspiration for The Terminator, Lee Marvin's Walker is a specter with no feeling or human trace, except the mission to recover exactly $93,000. If cinema's power lies in the bending of time, Boorman like Resnais coerces multitudinous interpretations in this mesmerizing, extraordinary work.
the same year as le samourai and branded to kill, walker is one of the coolest killer ever. in 1967 france has jeff costello, japan has goro, and america has walker, at least according to me. a wonderful year to have a bunch of ultra-cool killers.
these are the golden days of john boorman. this film has no loose weight and is character driven and the plot goes along at such a neat pace, until the end which breaks hollywood convention. the framing and blocking by boorman is first class to. the performance by lee marvin is worth noting also. not to mention the themes of betrayal, greed and lust. this is classic neo-noir at its very best.
Low-key bad assness at its finest. Lee Marvin shoots his way up the chain of a criminal organization through a psychedelic post-noir jungle with a great twist at the end. The style in which the flashbacks tends to drive me a little crazier every time I see it, but not as much as Marvin's lack of dialogue. I understand its the point of his character and I love him for it, but it still makes me want to freak out.
Nihilistic post-modern neo-noir: an early set-up effectively fragmenting memory and dreams into reality leads the way into a moralistically desert landscape with sharply conceived action in widescreen that leads to no real profit, recompense, or significance. Only victims are created and not the one's that Walker intended, especially since he never directly kills those he sets out to destroy, but destroys others.