Give the man his money for gods sake or he will write the book of masculinity for all eternity. Boorman on drugs, funny at times. To call this a noir, I dunno...

I'm not a fan of French New Wave, which this film clearly borrows heavily from. It's like an artistic version of Taken which takes itself far too seriously. I understand all of the themes and symbolism of the film, but that doesn't make it any more enjoyable to watch. As it is, I'll still give it a 3/5

first off, i didn't get it, which is only a problem when the speculation is entertaining it's self, but the problem is that it leaves you hanging with no sane conclusions that are actually interesting. it didn't have enough action, and the unappealing silence is not used effectively.

#356

380

Great flick, Euro-arthouse sensibility ahead of it's time for the American audience.

Walker is a man possessed, back from the dead to reap vengeance on a world where there is no honor among thieves. Lee Marvin plays him as the ultimate unstoppable force: stoic, clever, unrelenting. Boorman's direction adds some quirks which give the film this oddly hallucinatory feeling, and the hazy flashback editing leaves the mark of an ambiguous fever dream.

'I want my money.' Some of it is really impressive, the slow motion shots especially, but it just goes nowhere, and because of that, it just seemed so slow for a revenge thriller sort of film. Not bad by any stretch, just not what I was expecting.

takes awhile to get going but it makes its point.

Boorman seems so confident in the way he present his unshaven and gloomy tale of sordidness and resentful sorrow, shaping every scene with great care and deliberation. Rarely do genre films like this come is such a painstakingly elegant and accomplished condition.

I thought I was going to love this....not so much

A sort of weird psychedelic existentialist gangster movie. Makes me think of Jean Melville films like Le Samourai. Beautiful cinematography, strange, ellipitical screenplay, insane art direction that rivals Seijun Suzuki's flights of fancy in Tokyo Drifter. Best reason to see this though is Lee Marvin.

I'm all about a weird, flashy film but most of the flourishes were obnoxious. The plot wasn't entirely disposable, but nothing I particularly cared about either

I thought I was gonna be watching Point Break for the 15th time when I saw it on TV, was pleasantly surprised to realize that I can't read and to find this film. Lee Marvin plays a character that I enjoyed immensely. I mean, this chick hits him over the head with a pool cue then he bangs her immediately after that, what's not to love? Love the manic editing and the action scenes were well done. Cool movie.

Imperfect, but creative crime film, that succeeds primarily due to some very smart editing and cinematography, as well as Lee Marvin's oddly captivating performance. The story's got little meat and the rest of the acting wasn't very good, but none of it seems out of place in a film that feels somewhat like a fever dream.

Solid revenge thriller with couple of interesting quirks. There's the way Boorman uses flashbacks, perhaps illustrating the empty routine of Walker's life and his single-minded quest. Then there's the number of people who die by Walker's hand (count 'em). And the ending is ambiguous enough to leave you thinking. It's all got a slightly European flavor to it, definitely some Antonioni in there. A couple of the scenes scream 1967, but the datedness is more amusing than distracting.

One of the better Lee marvin flicks of the 1960's worth seeing

A fascinating, ambiguous, psychedelic neo-noir. It's incredibly vague and mysterious throughout, Marvin acting as the ultimate silent assassin, communicating his immutable thirst for revenge through expressions and actions instead of words, except for those occasions in which he violently berates men with a simple demand: "Where's my money?" Marvin is such a blank, emotionless palette that we can't even really be sure he's alive - perhaps he's the angel of death...

A flashy, ultra-violent revenge melodrama.

88.500

# 400

Shut the fuck up about your money! From it's editing, voice-over flashbacks, 60's fashion/decor to its moronic main character, this film irritates me throughout. Walker's blundering rampage of revenge is so ill conceived that any success he achieves feels infuriatingly contrived.

Few films capture a general ambiance of moral rot and emotional coldness as well as Point Blank did. It has the ugliness of The Big Heat and the downbeat outlook of Double Indemnity, but this is not noir as we know it. It's a darker beast altogether. Where the noir would often call into question our perceptions of good and bad, Point Blank proceeds uncaring into the abyss, as if these moral perceptions were alien concepts to begin with. This movie is death. I love it.

Dated as hell but John Boorman's ganster revenge thriller still packs a punch.

Pretty badass vengeance flick. Lee Marvin is simply awesome.