Scanialara You won't be disappointed!

Diagonaldi Very well executed

Vashirdfel Simply A Masterpiece

Protraph Lack of good storyline.

deram-77963 I noticed the same theme and names are used as Mel Gibson's Payback

stevielanding Lee Marvin was great at not acting. In every movie, he stands there silently watching all the other actors until eventually he does something (usually very slowly). Rumor has it that Keanu Reeves studied his method religiously.Marvin plays a dead guy -- no, a dying guy -- no, a guy who almost died -- even the director said he didn't know and didn't care. Anyway, Marvin gets double-crossed by his buddy; so Marvin spends his time either bumbling his way into unintentional deaths or watching other people murder people. One highlight is when the hit-man is ordered to kill Marvin and instead kills the very guy who ordered the hit. The hit-man can pick off a moving target at great distance, but apparently he had trouble seeing Marvin pushing his boss out into the open and he had trouble seeing that his boss was not Marvin. Until later. Then he reported to the next higher boss that he killed his boss because he was there instead of Marvin. Good reasoning.And Angie is great at -- well, at being a model who gets a few lines. Her character learns that her sister just died due to Marvin scaring the holy heck out of her. So she leaves her sister to rot on the floor and goes off with Marvin. She gets to wear a few garish outfits and towards the end, for no apparent reason, she goes berserk on Marvin and then sleeps with him.The bad guys are a trip. "We don't have cash. We use checks. We can't get you your money. Only the accountant writes checks." That's what they keep telling Marvin, and apparently, it's not their concern whether Marvin kills them. They just know that they don't have cash.They threw out the script. They only liked the main character. I don't think they wrote a replacement script. I imagine each day on the set, they told Marvin to stand over there and don't say anything because that's mostly what he did.Marvin can't carry a movie. He can be great as a supporting character with his one-dimensional non-acting, but that's all. Dickinson certainly can't carry a movie. She is eye candy and nothing more. This is supposed to be an action movie, and she is the second lead playing against a guy who doesn't act, emote or move any facial muscles. That's much too much for her. She would be better as the second banana's love interest.Marvins stands and stares. Dickinson has boobs. The director had no script. That's about all.Strangely enough, because this was done like a rushed high school art project, people look for great meaning in its obvious deficiencies. No, it's not avant-garde or highly stylized. It's a bad or non-existent script with exceptionally bad editing. Is he dead? Is he alive? Is he dying? Nobody knows because (not to beat a dead horse) they didn't have a script.

Spikeopath Point Blank is directed by John Boorman and collectively adapted to screenplay by Alexander Jacobs, David Newhouse and Rafe Newhouse from the novel The Hunter written by Richard Stark. It stars Lee Marvin, Angie Dickinson, Keenan Wynn, Carroll O'Connor, Lloyd Bochner and Michael Strong. Music is by Johnny Mandel and the Panavision cinematography (in Metrocolor) is by Philip H. Lathrop.Betrayed by wife and friend during a robbery, Walker (Marvin) is left dying on a stone cold cell floor at closed down Alcatraz...Pure neo-noir, a film that could be argued was ahead of its time, given that it wouldn't find a fan base until many years later. Yet it deserves to be bracketed as a benchmark for the second phase of noir, a shining light of the neo world, experimenting with techniques whilst beating a true film noir heart.The story is deliciously biting, pumped full of betrayals and double crosses, fatales and revenge, death and destruction. It even has a trick in the tale, ambiguity. It all plays out in a boldly coloured Los Angeles, the photography sparkles as Mandel lays an elegiacal and haunting musical score over the various stages of the drama. The talented Boorman has a field day with the elements of time, shunting various strands of the story around with sequences that at first glance seem out of place, but actually are perfect in context to what is narratively happening, the director gleefully toying with audience expectations. While suffice to say angles are tilted and close ups broadened to further style the pic.Then there is Walker, a single minded phantom type character, played with grace and menace by Marvin - who better to trawl the Los Angeles underworld with than Marv? This guy only wants what he is owed from the robbery, nothing more, nothing less, but if the meagre reward is not forthcoming, people are going to pay with something more precious than cash. His mission is both heroic and tragic, with Boorman asking the viewers to improvise their thought process about what it all inevitably means. Funding the fuel around Marvin are good players providing slink, sleaze and suspicion.Deliberate pacing isn't for everyone, neither is stylised violence and stylish directorial trickery, but for those who dine at said tables, Point Blank, and Walker the man, is for you. 9/10

blanche-2 Lee Marvin stars in this stylish neo-noir, Point Blank, with a European sensibility, directed by John Boorman. The film also stars Angie Dickinson, Keenan Wynn, John Vernon, Lloyd Bochner, Carroll O'Connor, and Sharon Acker. This movie and Payback are based on the same book, "Hunter." Mal Reese (John Vernon) needs money to pay organized crime bosses and talks his friend Walker (Marvin) to help him steal it. However, the money, if split, isn't enough for him to make his payment. Reese steals it all and shoots Walker, believing that he killed him.Walker isn't dead, and he wants his money. We don't know how much time has passed, but it seems like it's at least a couple of years. His wife (Acker) cheated on him with Mal after Walker was shot, so he visits her. But she and Mal are no longer together.He visits Chris (Dickinson), his wife's sister, and then finally reaches Reese. Reese isn't the last stop on the food chain, though. In order to get his money, Walker has to go up the line of gangsters. He's good with a gun and plenty sick of waiting.This is a film without a ton of dialogue and with a very internal performance by Lee Marvin. The editing is especially crisp - we get very tiny flashbacks, and in the end, we wonder if this was a dream he has while in prison or if it all really happened.The casting is unusual as it is populated with people who worked primarily in television - Vernon and Bochner were practically mainstays on shows like Mission: Impossible, Sharon Acker was a TV actress, and Carroll O'Connor's great fame came in television.There is a starkness about this film, in an urban setting of cement lacking in much personality. Through it all, there's Marvin, quietly racking up the body count. In Payback, Mel Gibson is much more overt, and the violence is stronger.This isn't made like other films, and I have to think, even though it came out at the same time as Bonnie & Clyde, that it had some influence.