28 of 29 people found the following review helpful
on 22 July 2014
....well it plays on my Region B Sony player!
Great film, a must buy if you love it like me, I really just wanted to say its Region Free for all you out there, I see no one has said this yet so I thought it would be a help.
I took the risk....it paid off :-)
53 of 56 people found the following review helpful
A hard, brutal film, as Lee Marvin takes revenge big time. Marvin carries this film from first to last - power, presence, cool, and very hard. John Boorman hits the big screen with a brilliant movie which is underrated and supremely cult. Hits you with images which stay with you. Worth watching just for the impact of Marvin marching down a corridor - it's that good. In my top ten no problem.
29 of 32 people found the following review helpful
on 12 July 2005
this is definitely one of the best crime films ever made.
lee marvin does a great job here, playing walker a tough who has been shot and left for dead on alcatraz, betrayed by his best friend and wife who have have been having an affair together and run off with the loot. marvin strides through LA cause catastrophy after catastrophy all in the name of revenge and persuit of what is rightfully his.
despite being set in the 60's the movie is timeless, because intellegently portrayed the underworld not as old fashioned heavy handed thugs but as a maze like jungle of big business corporations and businessmen. this is probably indebted to the social upheavels that were taking place in america at the time such as vietnam, nixon etc.
movies like soderbergh's the limey starring terrence stamp owe some debt to this movie but can never repeat its brilliance.
2 of 2 people found the following review helpful
on 26 April 2014
A man is double crossed by his wife and friend whilst helping to steal someone else's money. He is shot, killed and left behind, whilst the couple make good their escape.
However, unfortunately for the double crossers, they didn't do a decent enough job, and it turns out the husband wasn't all the way dead, and so, with the help of a mysterious stranger, he relentlessly tracks the pair down in an attempt to get back the money that's owed him, regardless of who gets in the way...
This is a very fine film from Boorman (which I have to admit, I hadn't seen for well over a decade), with massive amounts of style, visual flair, metaphor and honest to goodness violence. Marvin is superb as Walker, the man hell~bent on revenge, who's appearance changes from drained peakedness one moment, to unstoppable, monomaniacal, professional hit~man the next. Supported by a fine cast of faces that he ruthlessly kills or uses in order to achieve his inexorable goal.
Point Blank often has a dreamlike narrative, that speaks in metaphor, and will no doubt have certain viewers scratching their heads, but if you just roll with it, and are happy not to have the director hold your hand throughout the telling of the story, you certainly stand to gain much from this tale of hard faced vengeance..
Complete with some effortlessly 'cool' dialogue, and a sub story line in which, an at times machine like individual, realises that the times are indeed a changing, as he attempts to defeat an equally machine like, underworld corporate entity.
There are numerous unforgettable sequences in this, like Marvin pounding his way down a corridor; the 'premature' deaths of what you assume will be key players; or him simply dissolving into the shadows, like some sort of mobster's bogeyman or nightmarish angel of vengeance.
Leaving us with a dark and stylish noir thriller, that's right up there with the best of them...
3 of 3 people found the following review helpful
on 7 April 2013
I saw this for the first time in 1967, as a callow (and bemused) youth in a Midlands industrial town. We definitely weren't ready for this then, having been raised on a diet of horse operas or derring do war films. However, its reputation has quite rightly grown since, though it rarely seems to appear on UK t.v.
Lee Marvin is the quintessential monosyllabic hard man bent on revenge (and his 93,000 dollars)and is as cool in this as Steve McQueen would later be in Bullitt. Apart from some dated scenes in a night club this could have been made now. The editing is very modern and the locations are terrific. The discordant music also works really well. It's also presented in true widescreen (which my wife loathes), which I see as a real bonus.
Well worth the money and definitely worth a viewing.
1 of 1 people found the following review helpful
With the relentlessness, of Yul Brynner's robot character in Westworld, Walker, in the person of Lee Marvin, spends the entire movie hunting down his prey after being left for dead by his cheating wife and double dealing best friend, Mal (John Vernon). Ostensibly, his goal is the return of the $93,000 share of the haul stolen from him, along with his wife (Sharon Acker), by Mal following a successful heist that takes place on a lonely, bleak and windswept Alcatraz. The money belongs to the `organization' and, like an unstoppable virus; Walker invades it with ruthless, violent efficiency.
Released in 1967, and therefore predating the early seventies `paranoia' films of Alan J Pakula such as The Parallax View, All the President's Men and Klute, it nevertheless shares, with them, certain characteristic features. Likewise, Walker, both haunted and haunter, seems a very close relative of the Clint Eastwood `man with no name' character that first came to prominence in Leone's so-called `spaghetti westerns' but reached its apotheosis in High Plains Drifter (1973). This is what makes any comparison with the risible late 90's Mel Gibson remake barely worthwhile: Gibson's character is simply a bumbling clown lacking the enigmatic cool that Marvin personifies.
The character of Walker, based on Richard Stark's protagonist, Parker, from his 1962 `noirish' novel, The Hunter, seemed to be created with Marvin in mind; with very few exceptions does an actor embody his film role so completely, one such exception being, possibly, Eastwood's. With a brilliant, evocative, Johnny Mandel score and the stark Los Angeles architecture as a backdrop Point Blank is the epitome of late 60s existential angst and a brutal counterpoint to the peace and love that inspired the hippies of west coast America's pre-Vietnam dream.
All in all, almost perfect film making.
6 of 7 people found the following review helpful
on 1 August 2014
After a heist on a courier transport Walker (Lee Marvin) is double-crossed and left for dead by his friend and accomplice Mal Reese (John Vernon) and Walker's wife Lynne (Sharon Acker) over his cut of $93,000.
Walker survives and recovers and is set on revenge and recovery of the money he is owed. He first tracks down his ex-wife, kicking open the door and shooting holes into the bed, suspecting Reese there, but his ex confesses that Reese has left her months ago. Reese has also has spent all the money to buy his way back into a crime syndicate called "The Organization".
Walker works his way up the syndicate to reclaim his money with three men in his crosshairs: Carter, Brewster and Fairfax.
Sound familiar? It should, if you've seen Mel Gibson's PAYBACK or Jason Statham's PARKER, as all three movies are based on Richard Stark's novel THE HUNTER.
Superbly directed by John Boorman (DELIVERANCE) this is the best adaptation of Stark's novel so far. The pacing is perfect and POINT BLANK does not rely as heavily on action as PAYBACK and PARKER.
This is one of my favorite Lee Marvin movies: Marvin as the remorseless antihero is definitely a must see. Other stars include Angie Dickinson, Keenan Wynn, Michael Strong and John Vernon in his screen debut.
POINT BLANK has its very own style and some scenes are just unforgettable: the opening when Walker is shot and when Walker walks down the hallway to Lynne's apartment with only the sound of his footsteps, while other shots are completely mute.
It's a shame that POINT BLANK never received the recognition it fully deserved. It was widely ignored when it came out and up to now it was nearly impossible to get a descent DVD (not to dream of a blu-ray!) copy. It certainly is one of the best movies of the 60s and marked the beginning of a different type of hero, very unlikely for Hollywood at the time.
Reviewed version: 2014 Warner Bros. US Blu-Ray
Feature running time: 92 mins. (uncut)
Rating: Unrated (MPAA) / 15 (BBFC) (re-rating)
Aspect Ratio: 2.40:1 / 16x9
Audio: English DTS-HDM Mono, German 2.0 Mono, Spanish (Castellano)2.0 Mono , Spanish (Latino) 2.0 Mono
Subtitles: English HoH, French, German HoH, Spanish (Castellano) , Spanish (Latino)
Extras: Commentary, Behind the scenes, Theatrical trailer
Region: A, B, C (region free)
Although I don't consider John Boorman's 1967 film (which was based on Donald E Westlake's book, The Hunter) as by any means a flawless work, it remains one of the more stylish and visually innovative 'gangster/revenge thrillers' of its era. Of course, to categorise Point Blank as a 'mere' gangster film does not do justice to its underlying (at times, dream-like) premise that the 'all-pervading power' here is not an offshoot of the mafia, but rather 'corporate America' in the form of the film's 'organisation' - suave (but corrupt) men in suits doing each other (Masonic-like) favours. And whilst Boorman's film is not entirely convincing (and deliberately enigmatic) as to the controlling powers' motivations, Philip Lathrop's brilliant cinematography (a mix of extended pans, long shots and stills) - which among other influences calls to mind the French New Wave - plus Johnny Mandel's versatile and idiosyncratic soundtrack, for me, lift the film well above other 'mainstream' films of the era.
Of course, Boorman shuns commercialism still further by not pandering to the need for many (any?) sympathetic characters - most notably in his depiction of central protagonist, Lee Marvin's Walker, a 'dog with a bone' and out to get John Vernon's double-crossing Mal Reese, following a 'heist gone wrong'. Marvin has never been better as the brooding, seething, ruthless and impetuous avenger, whose single-minded, violent simplicity intimidates all that come before him. Having enlisted the help of Angie Dickinson's Chris, sister of his erstwhile wife Lynne (Sharon Acker) (both of whom have been taken under Reese's spell, thereby still further antagonising our anti-hero), Walker embarks on his unwavering pursuit of Reese and his 'faceless' superiors in the 'corporation' (including Lloyd Bochner's impressively slimy Carter, 'You do know who you are dealing with, don't you?'). Throughout, Boorman keeps us guessing as to what exactly is going on, not least via Keenan Wynn's mysterious, all-seeing, 'adviser to Walker', Yost.
Thus, for me, although the film's enigmatic aura does not always work in its favour, there are enough brilliantly visual and dynamic sequences to maintain viewer engagement. Particular highlights include the 'test drive from hell' sequence with Michael Strong's suave car salesman (and 'organisation'-member),'Big' John Stegman, the vibrant night club scene featuring an impressive Stu Gardner 'doing a James Brown' and the famous assassination sequence shot in the stark white concrete of LA's (?) canal/sewer system. Dickinson is also good here, featuring in another key sequence, which further cements the film's 'faceless corporatism' theme, in which Chris and Walker confirm the incomplete nature of their identities, alternately questioning, 'What's my first name? What's my last name?'.
The other films that Point Blank (in parts, at least) reminds me of (both visually and thematically) are Get Carter and (the first half of) Performance.
4 of 5 people found the following review helpful
on 14 October 2012
This ground breaking film is a beautifully controlled shot of adrenalin to cinema history, above and beyond its self-contained story. The futility of hopes and action are things INTENDED to be the trademark of the film. We see Marvin standing up for his integrity for 90 minutes and lots of revenge murders, then because he walks away from the $93,000 at the end, we realise all his getting even and pursuit of rough justice was pointless, i.e., "point blank". He realises it doesn't get him the innocence he's lost. This has been shown all through the film and explains Marvin's dead pan & "it ain't giving me no satisfaction" attitude that's maximized in the near final scene with Carroll O'Connor where Marvin sits paralyzed, stupified and monosyllabic on the sofa capable only of mindlessly repeating his (by now) pointless formulaic demand, "I want my money". Nothing available can give him the justice he seeks and he can only lurch mindlessly and hopelessly forward ("point blank" of meaning). He realises the futility of all his hopes for justice when Keenan Wynn is revealed to be the Mr. Big of the mob and Marvin sees he's been duped, fooled, betrayed and used, and all his "pure" motives have been ground into the slime of the prison yard where the film started. The emptiness that characterizes the entire film (all action & hopes are pointless) is all of a piece with the wave of alienation films that enriched the 1960s, including the Antonioni films from Italy, Godard's from France (Breathless) and flowering in Blow-Up, about a murder taking place in broad daylight and all traces of it vanish and are unactionable.
In a way, the film bids farewell to all the assumptions of the classic westerns that preceded it, where the good guys wore white hats, decency and justice prevailed, and action was worth doing because good things could be achieved, as in High Noon,
Winchester '73 and hundreds of others. In cinema history terms, Pont Blank announced we've entered a new and foreboding era
of human pointlessness, and our lives are increasingly and characteristically i.e., "point blank".
on 26 May 2015
Amazing film and the fact that Part of it was set Near and also on The Rock was also Great to the fact I went to California back in 2006 when I was a 32yr old and was Amazed how spooky Alcatraz was but this was made 2yrs before the Alcatraz Demonstrations of 1969 when Sioux Indians took it on themselves to Occupy this Island to say this was Built on Indian Land and it lasted for a Few weeks and some Buildings Got Damaged in the Process, But back in 1967 when this Movie came out the Same year The Legendary Lee Marvin Starred in The Dirty Dozen, He was Brilliant in this Classic as Walker and the Sound of Footsteps in the Background was Spooky but Brilliant and also the fact Angie Dickinson and John Vernon were in it Made it Highly Recommended viewing from the Starting at Alcatraz to it Ending at Alcatraz in Between the Different Relationships with the Characters. This is one movie Not to be MISSED.