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Point Blank [Import]

4.2 out of 5 stars 24 customer reviews

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3 used from CDN$ 29.99

Product Details

  • Actors: Lee Marvin, Angie Dickinson, Keenan Wynn, Carroll O'Connor, Lloyd Bochner
  • Directors: John Boorman
  • Writers: Alexander Jacobs, David Newhouse, Donald E. Westlake, Rafe Newhouse
  • Producers: Irwin Winkler, Judd Bernard, Robert Chartoff
  • Format: NTSC, Import
  • Number of tapes: 1
  • MPAA Rating: UNRATED
  • Studio: MGM (Warner)
  • VHS Release Date: June 22 1994
  • Run Time: 92 minutes
  • Average Customer Review: 4.2 out of 5 stars 24 customer reviews
  • ASIN: 6301971876
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Product Description


Walker (Lee Marvin) strides through Los Angeles with the steel-eyed stare of a stone-cold killer, or perhaps a ghost. Betrayed by his wife and best friend, who gun him down point-blank and leave him for dead after a successful heist, Walker blasts his way up the criminal food chain in a quest for revenge. Did he survive the shooting or return from the grave, or is it all a dying dream? The question is left in the air in John Boorman's modern film noir, a brutal revenge thriller based on Richard Stark's novel The Hunter (remade by Brian Helgeland as Payback), set in the impersonal concrete and steel canyons of Los Angeles and eerily empty cells of Alcatraz. Walker kills without remorse, guided by shadowy "informant" Keenan Wynn, whose own agenda is carefully concealed, and assisted by Angie Dickinson, as he desperately searches for someone, anyone, who can just give him his money. But if Walker is an extreme incarnation of the revenge-driven noir antihero, the modern syndicate has been transformed into a world of paper jungles and corporate businessmen, an alienating concept to the two-fisted, gun-wielding gangster. Boorman creates a hard, austere look for the film and fragments the story with flashes of painful memory, grafting the New Wave onto old genres with confidence and style. Haunting and brutal, Point Blank remains one of the most distinctive crime thrillers ever made. --Sean Axmaker

Special Features

Audio Commentary: Commentary by Directors John Boorman and Steven Soderbergh Featurette: Vintage Featurettes The Rock Part 1 and The Rock Part 2 --This text refers to the DVD edition.

Customer Reviews

Top Customer Reviews

Format: DVD
A terrific late 60s thriller. The story is very simple – a man (Lee Marvin) is betrayed by his wife and best friend who
shoot him and leave him for dead during a robbery they all commit together. Marvin spends the rest of the film
getting revenge, as well as trying to get his $93,000 back.

But where the story itself is simple, Boorman brings a dazzling array of stylistic conceits, many more normally at home in European art films
of the day, than in a Hollywood tough guy revenge story. Echoes of Godard, Bergman, Truffaut, and Antonioni - just to name a few – pull
one to look deeper into this story, the loose, sometimes confusing and elliptical structure leading us inside the character's alienation.

There have been many films starring the 'lone tough guy' but this is one about just how alone and lonely it is to be that guy, and how
pointless being an individualist can seem in a modern world, where even crime is run not by street-tough hoods, but by corporate types in
suits. "The Organization" here isn't the Mafia, but might well be any Fortune 500 company, and indeed the film acknowledges the darkly comic
absurdism of Marvin's quest for $93,000 from men to whom that kind of money is chump change.

In that sense it's a beautiful, dream-like study of the old ideal of the loner coming up against a modern world where the loner is no longer
the hero, or even the anti-hero. He's simply, sadly an anachronism.

The WB DVD transfer is pretty solid, but this film really screams out for a good blu-ray upgrade.
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Format: VHS Tape
This classic crime film from John Boorman needs no more description when it comes to plot, style and quality: what fans of the 'Parker' series of crime novels by Richard Stark (aka Donald E. Westlake, who incidentally screenwrote 'The Grifters') will want to know is whether it matches up to the books.
'Point Blank' is based on 'The Hunter', the first Parker novel, since then retitled as 'Point Blank' in its book incarnation. In the film Parker is called Walker (for no apparent reason) bud it faithfully played by Marvin, who is the best screen Parker so far encountered. Although the script takes considerable liberties with the novel's plot at times, this is the film that gets closest to the cold, methodical genius of the parker we know and love from the novels. Robert Duvall's Parker in 'The Outfit' was hampered with a motivation the literary
Parker would never have needed (vengeance after his brother is killed) while Peter Coyote's Parker in 'Slayground' is hamstrung by a plot that veers millions of miles away from the book, which was utterly absurd as 'Slayground' is one of the most visuallly kinetic novels I've ever read (and I've read a couple of thousand) and still cries out for a faithful film adaptation. Mel Gibson in 'Payback'?...say no more. MG is a buffoon who lacks the gravitas to come anywhere near the effectiveness of one of the minor characters in any Parker novel, let alone the greatest antihero of them all himself. Finally, De Niro comes close to Parker in 'heat' (in which he plays a similar character) but his downfall comes through sentimentality, something the emotionless workmanlike Parker of the novels would never allow to cloud his judgement.
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Format: VHS Tape
POINT BLANK is a worthy, simple gangster picture that tried to turn revenge into movie art. The artsy vehicle employed in this attempt was the flashback. Unfortunately it did not do the trick. The flashbacks were distracting. They added nothing to the story dimension of the film. Despite the flashbacks I enjoyed this film. The star lead, Walker [Lee Marvin]is not a hero, but a righteously revengeful mobster: revenge because his pal leaves him for dead and steals his share of the "take." Marvin was the ideal star for this film; taciturn, quietly heroic, and good with the fists. Lloyd Bochner and Michael Strong are well cast as the socially acceptable members of the modern Mob. You'll never forget two splendidly directed scenes. First, when Walker manages to bypass the goons guarding his ex-pal, then kills him in a penthouse--the first revenge. A second splendid scene that didn't mean much to the revenge angle, but spiced the film with a sprig of romance--was Angie Dickinson pounding Lee Marvin unrelentingly with both fists in a fit of scorn until she falls to her knees. Although Walker manages to gain some revenge the story-plot is unresolved at the end and the so-called "Twist" does not make sense. What does make sense is this modern underworld film without gutter profanity. That is a treat worth not hearing in POINT BLANK.
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Format: VHS Tape
Do not EVEN think you have seen this film if you have only seen it in a "pan and scan" version. This is one of the most meticulously composed ultra-wide Panavision pictures you are likely to see, and it's excruciating to see half the frame lopped off. Other reviewers have said this film seems modern, which is to say current. Fortunately, the wardrobe was kept pretty low-key for the year, 1967, which helps enormously. (Take a look at "Taxi Driver" if you want to cringe at some clothes.) If a person can have a single favorite movie, this is mine. I encountered John Boorman at a sneak of "Excalibur" when it was released, and gushed all over the poor man about "Point Blank". I think this was only his second feature, and given the path his career took afterwards, this film is really an aberration; he never did anything like it again. "Point Blank" was ignored when it was released (everybody was out seeing "Bonnie and Clyde" ;-). People couldn't stop talking about Antonioni's "Blow Up" (which came out at about the same time), asking "What did it mean?" Same here; I have no idea. See this movie.
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