Synopsis
Trailers
Reviews (166)
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J
“Cell. Prison cell.” There have been nearly 50 years of crime movies since this came out, a never-ending cascade of “how did you get in here?,” “where’s my money?” “did you kill him?” “kill him,” “I killed him,” “he killed her,” “she killed him,” “the money’s in the bag,” “the run is different but the drop is the same,” “he’s in the penthouse apartment, it’s like Fort Knox,” “it’s the cops,” “he’s a cop,” “he’s not a cop,” “that motherfucker is a cop,” “call the cops,” “no cops,” “cops!” “I thought you were dead,” “he’s dead,” “she’s dead,” “he’s dead, he just doesn’t know it yet,” “somebody has to PAY,” “SOMEBODY has to pay,” “where’s the car?” “Stay in the…
294 3 -
F
Kiss Me Deadly 10 years later. Capital goes upward mobile, and the libertarian thug is our only alternative left. All the new wave tics hide one of the ugliest most abrasive hearts in all movies.
461 1 -
J
Deftly mixes high and low arthouse (Godard at his poppiest hangs with Antonioni in hollow but charged frames) with anticipatory approaches to storytelling and mood that foresee films ranging from the angriest of New Hollywood’s political works to DON’T LOOK NOW. The exchange of “Hey, what’s my last name?” “What’s my first name?” captures the longing underneath the most nihilistic of film genres.
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M
79/100 Key word being “blank.” This was such a bizarre moment in American film history, never to be repeated; for a limited time only, studio’s bottom-line concerns about maintaining viewer identification were suspended. I’d vaguely recalled Marvin doing his typical badass thing, but Walker actually comes across here as wearily put-upon, like a man determined to get reimbursed for a mistaken charge on his credit card. (It’s a running “joke” that none of the baddies can fathom why he’d expend so much energy to recover the relatively paltry sum of money that was stolen from him.) The deliberate absence of almost any context leaves us watching a singleminded void wreak meaningless havoc, culminating in a mysteriously unresolved ending that declines…
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C
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🇵
SOME SPOILERS Turn your sound up. Right up. Now put this on. http://www.youtube.com/watch?v=jkYZFGMNDOI Now THAT is how you do a film scene. John Boorman’s crime thriller, which sees Lee Marvin famously stomping around California looking for the $93,000 that John Vernon and Sharon Acker unwisely diddled him out of during a heist on Alcatraz that sees him left for dead, is very much a Boorman take on the late 60s crime thriller. It has its surreal moments and occasional art film pretensions. It faffs around occasionally with a fractured timeline as well. But with Marvin absolutely belting it out of the park in the lead role, Point Blank has no choice but to be a fantastic neo(ish)-noir thriller, whether Boorman…
218 8 -
T
Lee Marvin as Walker doing shit you would expect Lee Marvin to do in a film about what happens when you screw the wrong badass outta $93,000. Bang! Bang! Harmonica. The pokey. Best mate John Vernon. Simple heist. Backstab. Alcatraz? Mutual agreement. The way Lee Marvin walks. Daddy’s home. Pill popper. Happy drunk. Wedding ring. Used cars. Test drive. Tooting your own horn. Remember you should always buckle up for safety motherfucker. Lee Marvin’s authoritative voice. Car killer. Psychedelic screaming. Delicious Angie Dickinson. The Organization? Unpenatratable penthouse. High-tech telescope. Capt. Spaulding worked at a hotel? Blinded by the kitty. Distress call. Elevator trickeration. Erotic touching. ScarJo and that hottie from True Detective look great naked but I’m sorry they ain’t…
313 38 -
L
Vengeance is a prison. This shares with CHARLEY VARRICK that distinct feeling that it’s about identity and meaning getting swallowed up by Darwinian capitalism. Bleak. Visually thrilling. Lee Marvin is a force. This morning I had to go to the post office to deal with filing a claim about a package that was stolen from in front of my apartment. Maybe it was that experience that had me thinking it would be fun to re-imagine POINT BLANK as the story of a normal guy just trying to get a refund from a giant bureaucratic or corporate entity. “I want my money (back)!”
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P
Revenge subsumed into corporate policy. A surrealist dystopia about noir’s terminator on a meaningless mission.
767 1 -
J
Novelist Richard Stark (aka Donald E. Westlake) was one of the great writers of blunt, single-minded hard-boiled crime fiction, so when John Boorman decided to adapt his most famous creation – the infamous “mean bastard” criminal, Parker (here called “Walker”) – he followed suit and made one of the all-time great blunt-force neo-noirs. A huge part of that was his choice of lead actor Lee Marvin (THE GOD), whose tough mug and physically intimidating screen presence is still the closest anyone ever got to accurately realizing this brutal noir antihero on the screen, but Boorman also excelled at the borderline psychedelic stylistic flourishes and strange, hypnotic atmosphere in which he realizes the Parker character’s sense of momentum when you read…
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N
at a certain point this just becomes a jacques tati movie about how hard it is to get paid as a freelancer (the scene with lee marvin furiously turning ofd appliances, all the hellish urban non-places, lee marvin towering over everything….). interesting to think about this as a sort of halfway point between actual noir—which this feels so indebted to—and something like THE LONG GOODBYE or INHERENT VICE. those movies are revisionist in character and plotting while this is considerably more revisionist in terms of structure, style, and montage and largely plays by the rules of story and character type to the point of meaninglessness (to the benefit of the movie, which is about how nothing matters and everything, especially money, is fake). the flashback/flash forward reminds of roeg but is so much better than everything i’ve seen by him. i love how the end circles back to the beginning; genre is a laboratory experiment repeated over and over again
389 4 -
M
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C
I like how Walker is not above just straight-up punching a dude in the dick
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G
Mean, laconic, classic 1960s action thriller. Great performance by Lee Marvin as the stubborn loner fighting the syndicate.
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G
Mean, laconic classic 1960s dark thriller with a great Lee Marvin.
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L
I was rlly not expecting this movie to be so abstract and surreal but I am so happy that it is. It makes the humor and overall attitude sm more effective and satirical. I esp love the the dialogue and how dry and cryptic it is. The movie will switch topics so quickly that it feels like a thousand diff ideas are being thrown at me at once. The way corporations are portrayed is also hilarious with feelings being thrown…
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T
Had no idea what was going on for the first half, but my eyes loved every second of what I was looking at.
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W
no one gets between a man and what he is owed plain and simple.
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H
Watch it for the amazing cinematography and a psychedelic club scene that synchronized a fist fight to a knock-off James Brown and GoGo dancer performance.
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T
Rewatching My Bluray Collection In Order of Their Appearance on the Shelf: #14: Point Blank (Boorman, 1967, Warner Archive). A very seminal film that might be the Rosetta Stone for much subsequent neo-noir. You can see small but distinct visual echoes of Point Blank in Mann’s Thief and Heat (to say nothing of lesser, but still worthy efforts like Drive). To some degree, Lee Marvin’s Walker, with his precise, economic body language and terse single-mindedness, is the progenitor of Thief’s…
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L
What’s my first name?
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K
Beyond just John Boorman’s Point Blank (1967) being the great Parker film adaptation. Point Blank is an influential hard boiled crime film. That you can tell Point Blank is predecessor to neon lit lone wolf crime films of the next two decades. All the down the dream like imaginary and soundscapes lettered through out Point Blank. It wild we don’t talk about Lee Marvin in the same breath of Clients Eastwood the movie star. My theory on John Boorman all his films are about escaping normal trapping of reality. Preferably to the woods but, the idea of leaving social norms is all over his filmography.
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H
What’s my first name?
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D
Brutal and stylish film noir directed by John Boorman. Lee Marvin is fantastic as Walker, a tough guy who is betrayed by his partner and begins systematically killing his way to the top to get his fair share. Beautifully shot with nice nonlinear cuts in the action, is stellar.
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M
“I want my ninety three thousand” I really wanted to love this movie having read a lot about it before sitting down to watch it. I can see why people like it. It’s very stylish and has interesting visual storytelling moments which you don’t get in your standard 60’s cinema. Lee Marvin is so good in this. You can see how this film influenced anyone who came after it to make a crime thriller. You can really feel moments of…
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J
Lee Marvin, Keenan Wynn, Angie Dickinson, Carroll O’Conner and introducing John Vernon (!) , and directed by John Boorman. Classic revenge tale with a spectacular cast. This was remade years later as Payback with Mel Gibson
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J
As soon as Walker struts down the hallway with the sound of his footsteps like a ticking time bomb I was locked in.
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E
You are insane if you watch this and don’t immediately have several sequences engrained in your mind
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L
Times are tough, but we do have 4K UHD blu rays. So at least there’s that.
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MMission Enjoyment 8 月 21, 2026
threw this on expecting MUCH less than what I got. this was an insane and trippy watch that is something I will have to rewatch to fully grasp.
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A
Gimme 1000 more flicks of Lee Marvin exacting revenge on those who wrong him. Shoot’em up baby, shoot’em up.
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E
This movie must have really been out there in terms of style in 1967. The mis-matched audio to image, the frequency of flashbacks, it has a dream-like (or nightmare-like) quality to it. It is a wild ride worth watching again and giving some thoughtful examination. I love the LA and San Francisco photography.
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E
Lee Marvin looks so much like John Mulaney.
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C
I feel like in another universe, this would be my favorite movie because it has a lot of things I love on paper, with a wacky, almost stupid plot and some really great visuals, but something about it didn’t click with me. I didn’t really get the plot until Reese’s apartment, which then I felt really dumb because of how simple it is; even then, I still don’t get the “why”. The opening just throws you into it and pretends…
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G
I stand by my original review.
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K
i mean if you know why you know why but this is just so good every time. for the 60s this is such an interesting look at what an older man has to offer to society. you can feel the background work from a western bleeding through in the best way possible.
19 -
H
Total masterpiece
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A
Point Blank had been on my Watchlist for quite some time until I finally watched it with a friend this evening. Tales about a badass on a quest for revenge are always a tremendously fun time and this is no exception. The twist on the formula that he’s ultimately a pawn in someone else’s scheme adds a unique dynamic to the whole thing. I really loved the editing and structure of Point Blank, it immediately drops the audience into the…
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J
Muerte a la corporación
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C
Bizarre, in a good way. And the special effects used for Reese’s fall – laughably of its time.
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D
Frankly I’m surprised at how little support there is in this house for watching Lee Marvin fuck up half of Los Angeles
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TThe_AFS 8 月 20, 2026
Lee Marvin is Walker, a man on a mission after he’s betrayed by a friend during a robbery that goes sideways. Although he’s compared to the Terminator or John Wick, Walker doesn’t accomplish his mission thanks to futuristic technology or preternatural gun-fu abilities. Ultimately, Walker is simply too single-minded to fail, and Boorman’s direction and the editing make that explicit. Throughout the film, the current scene is intercut with rapid-fire flashbacks to earlier in the story. This flourish underscores the…
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A
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J
Lee Marvinin ehdottomasti tiukin roolisuoritus ehkä John Boormanin parhaassa elokuvassa. Psykedeelinen, rankka ja tyylikäs elokuva on täynnä häikäisevän hienoja omituisia kuvia ja ykkösluokan äänisuunnittelua, eikä laske otteestaan hetkeksikään.
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D
… I like the Boorman of it a lot more than the Westlake of it.
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NNiko Golfinopoulos 8 月 19, 2026
The honest truth, I forgot this was in my watchlist, and I wanted to watch a movie, that was in the same realm as Carlitos Way or really I wanted to watch a film that starred Al Pacino. Which was both Carlitos Way and Sea Of Love Which I have never heard of, but I wanted to watch it. Sadly it was for rent, and I got to watch something that is free. And that was Point Blank Where to…
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Ppartywave 8 月 19, 2026
most slaps by woman in a short orange dress nominee
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⛧
Still some of my favorite editing in all of cinema. Lee Marvin absolutely commands the screen.
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J
The way the reflections in the windshield, in real time as they’re being spoken about, change to mirror the evolution of Lynne’s relationships to Walker and Reese, is the detail I’m most obsessed with in this movie. No idea if it’s the result of meticulous planning or just a miraculous coincidence. Either way, it’s one of my favorite moments of visual storytelling across any artistic medium
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B
Paşam ben de neo-noir izliyorum
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B
Wow!
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J
Still badass as fuck this movie rips. I liked the Mel Gibson version of this , might have to rewatch soon
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N
There were stretches of this movie where I was just not sure what was happening but it always felt very cool
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C
The criterion 4K release of this was a great excuse to revisit this great 60s gem
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T
Cannot believe I thought this going to be a more classical verision of the modern “Man with a code” crime film (What even is Walker’s code? Does he know? Marvin’s performance becomes increasingly inscrutable as the film goes on.) I don’t think I’ve ever seen a studio film from this time period edited like this. Steady medium wides carry our characters and their malaise as Angie Dickensen, Marvin and Keenan Wynn don’t look each other in the face often, almost…
17 -
H
One of the strangest American films ever made, The San Francisco Ghost Story
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B
quick and to the point without any fluff AND a memorable dean wormer scene
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SSean Conway 8 月 19, 2026
Pretty fucking sick tbh. Recently read The Hunter, which I enjoyed. After reflecting I do think this lost some of the character (he’s not a total psychopath), but still a great time. Looks awesome. Lee Marvin is so cool
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RRyGuyTheFilmGuy 8 月 19, 2026
The definitive Lee Marvin flick. John Boorman’s best. Everyone always mentions the editing but boy do I love that deep depth of field!
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M
taut. lean. minimal. other words meaning each scene on a string. a movie that doesn’t tell you anything, it just goes hard. Lee Marvin emoteless, punchful, breaking things, kissing with no mirth, remembering grimly, more things breaking, pool sticks and body parts and perfume bottles and hearts. the camera perfect, geometry and colors painted, certain shots just so, then shots ringing out, the sound design perfect, everyone heartless, hopeless, cynical, solely self interested. with a layer of faceless corporate dystopia threading through it all. suspense and revenge, exactly as it should be.
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IIgor 8 月 19, 2026
Moving through the world but it’s a corporate prison with no escape routes. Just one rung after another, each one an IOU, everyone is dying for the money and no one has any, but somebody’s gotta pay.
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I
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D
Dreams, memories, past and future. Hard to tell one from the other. A very floaty take on the noir revenge concept, Point Blank kind of seems like a blueprint for The Killer (2023). Enigmatic protagonist dredges murky underworld more out of a sense of obligation than anything else. You can’t find what you want if you don’t really know what it is.
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V
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J
Certainly exceeded expectations, adapting one of Donald Westlake’s (Richard Stark) more known Parker novels The Hunter, Boorman’s Point Blank soaks in the mood and atmosphere of the novel well, even though it doesn’t adapt it faithfully. The whole movie is a stylistic delight, and certainly ahead of its time for a mainstream release in the late 1960’s. Narratively at times I was surprised on where it breathes, and how cleverly performances propel its action. Wouldn’t call it a favorite, but it certainly is a blueprint for movies in this vein that have proceeded it. Seen in Chicago in ‘26
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J
lee marvin > mel gibson
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K
Point Blank..
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A
Surreal, artsy, a good crime flick. Cinematography is brilliant, does a lot more with the genre than usually is done. Different in a very good way. Big fan.
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T
Point Blank is full color noir, with all the color matching within scenes (the clothes!) giving it the feel of the moment color film was discovered. The ever insouciant Lee Marvin is pure existential dread, ridiculously purposeful in his purposelessness. The cinematography, editing, and especially, sound design are top notch.
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L
Very cool precursor to the modern revenge tale. This movie jumps right into the main plot, with very little explanation. You have to be patient to get the whole picture, which is the best kind of revenge story.
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L
Touched something deep in my heart.
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S
John Boorman drops a brick on the accelerator and careens us perfectly around every twist in this revenge fantasy that will leave you begging to be aggrieved. Time and memory melt together when exposed to Lee Marvin’s roiling anger. They should have just given him the money!
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T
The specifically 60s aesthetic of crotchety man in suit wanders through dream-like California is one of the absolute best. Lee Marvin seems to have a preternatural instinct for how the shadows hit his face
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Iivan 8 月 18, 2026
new room has the bathroom built in and watched like 6 minutes of this from the toilet #thankyou
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D
I was about to write that they can just remake this every 20 years with a new set of angry hardasses eager to butt heads against each other but then I realized I pretty much already said that in my review of Payback so this is a remake of a review of the remake. Though no version will be directed with as much verve as Boorman brings here.
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G
My man Walker doesn’t fuck around, a man of few words but he sure as shit said a lot Some great cinematography in this which I didn’t expect but will always appreciate
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I
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M
To watch for its expressionism and its nervous dream-like quality. Also for Lee Marvin in a suit. Not to watch for plot, meaningful characters or dialogues. Overall I understand many of the things seen must’ve been groundbreaking at the time. But I still prefer a tightly choreographed film noir or Hitchcock thriller to this floaty affair. The aesthetic is memorable though, and it has some interesting sets (the Jazz club, the iconic dry riverbed and the scenes in Alcatraz).
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Ccorn_fed_noah 8 月 17, 2026
Absolute banger. The most psychedelic movie ever made, and such a special movie, I love it so much. I can’t think of any movie whose scenes rhyme so well, a masterpiece in composition and editing. I said most of what I wanted to say in my last review but I love this movie more with each rewatch. Man I wish I sounded like Lee Marvin when I talked but theres no way I could handle the booze and cigarettes it takes to make that voice (Also I’ve been watching a lot of movies set in San Francisco the past few days for some reason)
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M
Impressive on several levels, but cannot say I really enjoyed it.
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B
Kinda didn’t care at all for the first half but then we decided to execute a one man heist in the Huntley Hotel and it went 0-60mph in record time. Los Angeles River is one of the coolest places to throw in a film then we toss a sniper on top? Baby you’re cooking with grease. Extremely Cool Movie stamp awarded
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D
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M
Somewhere along the line, it stopped really being about the money. Incredible experimental camerawork lends a near-art house lens to an already immaculate crime thriller.
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MMajuscule 8 月 16, 2026
Director commentary moderated by Steven Soderbergh
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S
Incredibly bleak revenge story, with Lee Marvin putting on the coldest performance of an antihero you’ll ever see. Love how the film uses recognizable locations like Alcatraz and L.A. River during some of it’s main set pieces. Worth a watch for the footsteps scene alone.
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J
Some of the best editing I’ve seen. The way Borman blends the timelines to play with your emotions was outstanding. I also fully subscribe to the theory that Walker is a ghost exacting his revenge.
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G
I didn’t know I was gonna love this one as much as I currently do. Feels foundational. The style is substance. A whole meal. I often forget I do love the 60s style of filmmaking; often mannered, but precise and artful!!! The implications!!! And they were roommates!!
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N
Viewed on TCM According to IMDB: This was the first film shot at Alcatraz, the infamous prison which had been shut since 1963, only three years before the production. Two weeks in the abandoned prison facility required the services of 125 crew members. MGM agreed to pay $2,000 per day ($18,900 in 2024) to rent the prison and to pay all expenses to re-establish power, water, and heat necessary for the production. In Point Blank (1967), Lee Marvin plays Walker,…
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J
Interesante coqueteo con el avant garde. Me quedo con el Big Sleep pero los flirteos psicódelicos, la edición tosca y el diseño de audio crudo y rugoso como la jeta de Lee Marvin le da un je ne se quoi. Me mama que a mitad de la pelicula te preguntas porque tanto pedo por $93,000 dolares para que hasta el segundo jefe criminal lo diga también, me recuerda a esa escena de los Sopranos cuando van a tratar de extorsionar…
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E
Incredible. Anything with Lee Marvin is worth watching, and this is one of his best performances. The editing, use of L.A. locations, color schemes–all way ahead of their time and still impressive. A must see!
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D
I’ll be honest, not as in love with this movie as others are with it. Now it’s definitely a movie I can respect. The movie, overall, was well done. Some good, intense sequences throughout the film. There wasn’t anything totally boorish about the movie to be honest. Just overall, i thought it was fine. My main two things is the whole editing style that’s portrayed throughout the movie, but especially in the first 20ish minutes. That’s the thing that actually…
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D
“You’re a very bad man, Walker! A very destructive man! Why do you run around doing things like this?!” I’d been putting off seeing this for a while since Quentin Tarantino kind of poo-pooed it in his great book *Cinema Speculation*, but I’m glad I finally took the initiative of forming my own opinion. It’s pretty fine, though often too cold and stylistically showoff-y for its own good. What worked for me was the bevy of craggy-faced character actors yelling…
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J
A no nonsense 50s guy wakes up in the fractured 60s, confused. He finds LA’s shadowy crime world has been shoved right out into the sunlight and everybody seems pretty cool with it. The dirt has been whitewashed through an LA rebranding, now hiding behind secretaries and corporate org charts. Our guy’s not quite ready for all this change though, and he’s really pissed. Lee Marvin just might be able to singlehandedly drag 1967 back to 1952.
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P
It rips soooo supremely. The costuming and set design are nearly flawless, constantly playing off each other in striking ways that almost rise to the artifice of camp. There’s a delightfully, effortfully clunky (by which I mean, self-consciously affected) noirishness here and there with very blocky scenes that signify genre, but there’s a lush churning visual dynamism underneath (and quite often literally going on right behind) even the most visually formulaic moments. Prefigures major achievements like The Long Goodbye in…
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C
Ik vond dit bijna een noir-parodie. De deadpan Naked Gun-achtige stijl met de stoicijnse antiheld ‘Walker’ en dan zonder de slapstick humor. Maar dan zitten er ook random flashbacks en droombeelden in, waardoor de film iets surreëels en fragmentarisch krijgt. Het verhaal is niet lineair en het begin en einde samen + de rol van de zussen heeft iets van een mystieke herhaling. Allemaal heel gaaf gefilmd maar weet niet of de film geniaal is of gewoon vreemd. Probeert de…
1 1 -
E
Avant garde noir! Gimme more!
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B
1960s Los Angeles, Alcatraz and mood.
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O
The script isn’t terribly exciting, but Lee Marvin is very cool. Basically a hard boiled revenge thriller, but John Boorman shot it like a European movie. Very stylish, lots of use of shadows.
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C
Sick as a damn dog so I thought why not whip out my brand new 4k and might I just say. Wow. This disk looks incredible, one of the best transfers I’ve seen in awhile! Definitely would recommend getting it if you’re a fan. Such a fantastic looking movie.
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D
So I have been watching a lot of these 60s-70s badass killer at the end of his rope type movies and none of them look anywhere near as good as this one. Somebody likes French New Wave. It does give an extra oomph to this entertaining but not super compelling Neo-noir. Would rewatch for the shots but not so much the story. I literally just watched Escape From Alcatraz and spit out my imaginary coffee when they brought up the events of that film in this one. Maybe good double feature idea who know?
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Rrussell lee cramer 8 月 14, 2026
4K Blu-ray 443 living
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A
On the short list for coolest movie of all time. Incredible opening that establishes the oft used disorienting cuts between past and present (and sometimes, imagined) events with chunks of action and dialogue seemingly shattered (a regular visual theme…broken mirrors, memories). Walker is double crossed by his wife and friend. But he survives, and he wants his 93k. Of course, that’s not all that was taken from him, as he comes to realize. Stylishly shot and sound designed (those footsteps…
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DDavid Levy 8 月 14, 2026
I love the way this film looks and feels and moves, but I’m not sure I fully understand what I’m meant to take away from the story (and in particular, the ending). But maybe that doesn’t matter, and spending some time in this world with these people and this movie and its rhythms is enough.
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J
Glad to own it because I need to see it at least twice. It’s so cool that the coolness is distracting.
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D
This action film is more modern in a sense than many contemporary movies, putting a lot of attention on psychological aspects and the role of memory in the drive for revenge. The impersonal nature of the organization was quite novel at the time and the existential absurdity anticipates the nihilistic attitude that really took hold in the 70s.
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J
I seriously don’t remember the last time I enjoyed an afternoon watch. It’s just not my ideal time of day for watching movies. I really liked the hypnotic/flashback scenes but I was so disinterested afterward
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S
My brother talked about how his name is actually Parker the entire film
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T
Very cool neo-noir film. Lee Marvin has one hell of a screen presence.
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M
Lost me quite early on just don’t massively care for the surreal parts of it. The acting was also quite poor from most of the cast and it was just overall the longest 90 minute film I’ve watched in a while. It looks great but not enough to save it.
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C
For a (as of 2026) 58 year old film, this was very good. It’s an 18, but these days would struggle to make a 12A. It is of course the first film of The Hunter, made more famous by Mel Gibsons Payback. They are similar films, the characters are there but the wife and girlfriend are actually sisters here. There is a big twist which isn’t in either of the 2 versions of Payback, and I didn’t see it coming at all.
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P
surreal art-action revenge film absolutely stunning, Lee Marvin is on a tear here
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P
“How do you like that?” “I like it”
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J
Angie Dickinson can slap me in the face and punch me and hit me with her purse all she wants
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L
Mal Reese (John Vernon) discovers that the mob is using Alcatraz to change over cash. So Mal brings in Walker (Lee Marvin) and his wife Lynne (Sharon Acker) to steal the money changing hands. However Mal doesn’t make out with the amount he wanted, so he double crosses Walker, leaving him for dead. Mal takes Walker’s share ($93,000) and his wife. Walker survives being shot and somehow makes it across the Bay. Now back in San Francisco, Walker wants the…
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C
The Good Lee Marvin is a force of nature. The 70s had these men, these stars who could immediately sell menace with no back story. Think Charles Bronson, Robert Mitchum in his later years, Gene Hackman when he wanted to turn the screws, Clint Eastwood at his coldest. You just put them in a room and you know they’re dangerous. Marvin is off the charts here. And the dialogue. I’m a sucker for simple dialogue, because I think you have…
2 1 -
A
What a cool fucking film. Effortlessly blends non-linear, dreamlike structure with a propulsive, violent story. Don’t think I’ve seen anything like it – lots of French new wave touches on what is otherwise an action film! One of those films that could definitely have been “just a dream”… Wanted a bit more ass kicking in the end. Marvin was just perfect in the role.
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J
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C
Dal muro, irrealisticamente bucherellato, su cui si fissa lo sguardo di Walker, fino all’area porticata dell’atto conclusivo: il cervello – di un uomo mai uscito da Alcatraz, a un centimetro dal trapasso, sul pavimento di una cella – come prisma traspirante e, al contempo, come labirintica gabbia – prima dell’Overlook di Shining, prima del «set-cervello» (Malavasi) di Inland Empire.
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M
YES
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T
what a unique and honestly brilliant neo-noir. brilliant use of music combined with some truly unique editing. i have a feeling this is gonna be in my mind for a while. weirdly reminds me of inherent vice?
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T
Lee Marvin, in one of his greatest roles, is out for vengeance in this highly stylish neo noir. See my YouTube episode here: “Point Blank” youtu.be/ZwcfeMltLwk
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J
I’LL SAY THIS ONCE MORE — WHY CAN’T MOVIES LOOK LIKE THIS ANYMORE, HUH?! The avant-garde editing and cool ghostly score elevated this flick to something more than just a regular crime flick. There’s a bizarre haunting atmosphere to this flick that hits you out of the blue — it sucker punches you. At first watch, you think it’s going to be a straightforward cool ’60s action flick (which it is) but then it slowly morphs into something else, an…
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Y
Very legit crime movie. Some shots that are so signature psychedelic boorman with just the most nonchalant terminator on his way to collect his damn money. Maybe greatest voices I’ve ever heard in a movie collectively.
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P
felt like the mad max: fury road of california neo noirs, from the propulsive movement of the plot with brief sidetracks into loopy flashbacks and borderline psychedelia to the stoic lead with an perpetually furrowed brow and one goal he’s always moving towards. really dug this!
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S
Def due for a reappraisal given the conditions of my watch and the upcoming criterion release
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B
Walker: I really want my money.
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M
Stunning. A sublime mix of thrills, mood and character drama. There’s an incredible stark look to the film as well. A perfect movie. First time watch. I’m almost ashamed to say but Point Blank has been a big blind spot for years, which is crazy because I’ve seen so many of the films inspired by it — namely Payback, The Limey and John Wick — countless times.
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S
Took me a little while to get into this, as the somewhat confusing beginning slowly turns into a fairly straightforward revenge thriller, but once it got going I really enjoyed it. Also pretty crazy seeing how many movies this clearly influenced. Lee Marvin also took some getting used to. His acting is like some bizarre Leslie Nielsen meets Keanu Reeves/Nicolas Cage combination, which I really wasn’t sure about at first, but eventually it just works. Especially because despite how extremely…
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F
365 Days of Discs: The Sequel #224 – Point Blank (1967) Criterion 4K UHD Point Blank is just Lee Marvin being a total badass for 92 minutes and steamrolling every object in the way of his pursuit of $93,000, which is the amount of money he’s owed for a job where he was double crossed and left for dead. Marvin’s portrayal of Walker is that of a stone cold, stoic brawler who takes out the bad guys but always leaves…
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C
Low key kinda of a let down for me. Can’t say I’m a fan of this director, but I’m a fan of Lee Marvin and I don’t know. I just did not care for the story. I like my Lee Marvin more of a badass shoot’em up than this.
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A
Perinteisten rikos- ja kostoelokuvien troopit yhdistyvät hauskasti moderniin leikittelevään elokuvailmaisuun, jossa näkyy vahvasti 1960-luvun eurooppalaisen taide-elokuvan vaikutteet Godardista Antonioniin. Tarinassa menneen ajan film noir -kovis kohtaa modernin yhteiskunnan. Walker on kostoretkellään päättäväinen ja tehokas, mutta uudessa maailmassa pelin henki on muuttunut: vastassa on yksittäisen vihollisen sijaan abstrakti järjestelmä. Elokuvassa on käytetty 60-luvun arkkitehtuuria ja lokaatiota kekseliäästi niin, että se korostaa päähenkilön vieraantumista uudenlaisesta maailmasta. Pidin Point Blankin dynaamisesta tarinankerronnasta, puvuista ja väreistä sekä siitä miten hauskasti tässä hyödynnettiin arkkitehtuuria. Elokuva…
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V
Everyone was hyping this after the recent Criterion 4K release and man, what a disappointment. The movie looked great and it had its moments, but it was just so boring. Weirdly edited, too and I wasn’t even sure what I was watching half the time. Maybe I missed something and need to give it a 2nd viewing, but not sure if I ever will.
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T
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J
We don’t let people be angry in movies anymore. These people are pissed off.
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Jjack 8 月 12, 2026
Been slamming thru the Parker stark/westlake books. Fucking some of the best shit I’ve ever read, so dope. so been trying to watch Parker cinematic universe shit. This shit was good. Real pretty grimy and weird. But The whole added into the movie sister horn dog Parker a playboy sex arc slowed it down for me a bit but when this shit was it was on. Quite hefty ripper with slight drag. Alcatraz forever the coolest place ever. Rip westlake, a forver g
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F
||Dreams are real. Those gunshot wounds are real. The icy chill of the water is real. The walls of this prison are real. The gunshot wounds are real. But are they really? The scar is there. You didn’t have it before? The bed was always like that. It was? Those holes. They look older than I thought….. The gun is still smoking. The rhythmic sounds of revenge. Shoes clock clacking down a hallway. Howling at the club to hide the…
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J
Very sleek movie! When I was biking home I looked around everywhere to make sure Walker wasn’t out to get me…
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N
You died at Alcatraz, all right. Goodbye, Walker. The unc of all uncs, Lee Marvin, is having a hell of a bad time. His wife and best friend betrayed him to his death—but he is, inexplicably, still alive, and looking to collect on some debts. His only comfort is that no one else is having a good time, either. His wife is a terminally depressed pillhead. His former partner in crime is surrounded by flunkies who would sooner shank him…
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S
Lee Marvin learns an important lesson about capitalism: companies would rather self-destruct and go bankrupt than give up any of their profits!
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L
Had a blast over here Men will literally steal a dealership car with the dealership owner in the front seat and slam it back and forth into concrete bridge beams before going to therapy The drunk guys led by Lee Marvin sinisterly circling Sharon Acker as if it’s a romcom meetcute…someone get on making a meme plz. I don’t have the bandwidth but it’d be like “me my first day on Feeld” or something like that, you get it, you…
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P
A film that still feels fresh and new due to its play with genre conventions and arthouse ambitions while laying down one of the best neo noir films ever made.
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M
It almost fools you into thinking it’s turning into a straight revenge thriller half way through, only to flip you back into the surreal under tow of its death throw fever dream. Boorman thought LA was a fairly soulless place and captured this wonderfully in the blank concrete montage of the city scape.
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H
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T
Insanely underrated 60s neo-noir with colors that pop right out of the screen, near-experimental editing style, and fascinating directorial choices. Gives one of my all-time favorite protagonists who is hilarious, dry, and incredibly good at his job. Lee Marvin kills it in his presence, the way he moves, the way he walks, the way he stands. This gives some amazing and wholly creative action/thriller set pieces. Crazy how under-seen this is. Blunt is the best word for it and it takes a simple premise and makes it into a super unique revenge plot
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L
Effortlessly cool and some slick editing that was ahead of its time.
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G
Just a cool flick. Lee Marvin’s character is cold and ruthless, the terminator in a suit. Loved it
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F
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AAlpsStranger 8 月 10, 2026
I read that the Criterion 4K restoration added the teal color grading. So when I saw the blu-ray for only a few bucks it felt like a good move. I’ve seen Payback (both Gibson’s and ‘Straight Up’) and Parker (the Statham one) so I’ve experienced this story. I’ve read The Man with the Getaway Face so I’m a little familiar with the original character. As for Lee Marvin, I’d never even heard of him until Mr. Blonde mentioned him in…
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#PointBlank 🇺🇲 1967. بعد أن تعرّض للخيانة وتركوه للموت، يسعى ووكر الغامض لاستعادة أمواله المسروقة. 🚩 المحك. عالم العصابات لا يعرف الأمان؛ كل شيء فيه مرعب، وكل لحظة تُعاش على حدّ السيف. في هذا العالم، الاستقرار ليس إلا وجهًا آخر لعدم الاستقرار. 📌 الذكاء في التصرّف. سيناريو ذكي يختزل القصة دون أن يفقد أي طرف من أطراف القضية، وإخراج يصنع قمة التوتر داخل مشهد هادئ، بموسيقى لا تشبه الحالة النفسية للمشهد، لكنها تزيدها قوة. 🎧 تأثيرات صوتية نفسية متقدمة جدًا، وسينماتوغرافيا عظيمة في أفكارها وتوظيفها للصورة. 7/10
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J
This kind of thing is my bag, baby! A complete blind buy ™️ during the last BN Criterion sale paying off in spades. I had no idea, just wow. Also, I’m pretty sure Mann used the same overpass in the opening to Heat as featured in the repeated car crash sequence here. 5/5 🔫s
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C
Cool as fuck movie. The plot angles on scene ms and dialogue and how methodical everything seems to be is so engaging. I really dug this movie. There’s a whole scene where they drop Lee Marvin’s dialogue all together while his ex just has a conversation with herself, hanging herself out to dry. And let’s talk about how cool a fucking customer Lee Marvin is. Everything he does is a surprise. Great stuff.
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A
Point Blank seems simple in its premise but I was fully locked in from the get go. The entire film is shot, edited and told in a way that you can’t actually believe that this was released in the second half of the 1960s. It feels like early Chris Nolan. 1967 | Next: Hell in the Pacific (1968)
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R
Da molti considerato il primo “neo noir” del cinema americano e a ragion veduta visto che il film spezza la tradizione del noir classico e si lascia contaminare dalla nouvelle vague francese. Lo si può considerare infatti anche uno dei capo d’opera nella New Hollywood in toto, visto l’anno di uscita ( Il Laureato e Gangster Story sono anch’essi di quell’anno). Lee Marvin che vaga per tutto il film come un fantasma, con ricordi che gli si confondono e che…
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A
Just as good the second time around, knowing where the story was going helped me appreciate the fever dream aesthetic.
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Mmartharivers 8 月 9, 2026
I mean I get it, style’s incredible, but I like my noirs with at least a sprinkling of ‘here’s why you should care if these characters live or die.’
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P
This was much, much better than I was expecting it to be: the slowly escalating and intractable ruthlessness of Walker (Lee Marvin) is a sight to behold.
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A
Pretty great…that is all for now…
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J
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GGuilherme Sodré 8 月 7, 2026
Lindamente filmado e montado. Me lembrou uma onda meio John Wick, um louco imparável indo atrás de figurões cada vez maiores da mafia em busca de uma idiotice qualquer…
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J
I think the only thing about this movie that makes it even cooler than it already is (because it’s really fucking cool, stylish and abstract in a way that feels fresh even now- while still being dated with how aggressively “mod” everything is) is that I always assumed Lee Marvin was 60 while making this- as opposed to the 43 he actually was. Jesus, we don’t age ’em like we used to.
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T
Maybe one of the more premiere examples of a movie presenting “cool”, where the style and asceticism provide more to the atmosphere to assist an already consistent storyline about calculated career criminals. Also never expected to see stunt butt for John Vernon.
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D
This was cool. The whole dream-like thing was a vibe. But I can’t say it’s lingered on my mind.
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M
*A Estética do Vazio e da Vingança: Forma e Estilo em À Queima-Roupa (1967)* Lançado em 1967 e dirigido por John Boorman, o filme À Queima-Roupa (Point Blank) estabeleceu-se como um marco divisório no cinema policial norte-americano. Em vez de simplesmente replicar as fórmulas consagradas do filme noir clássico dos anos 1940 e 1950, Boorman promoveu uma ousada fusão com as técnicas de vanguarda vindas da Europa, especialmente da Nouvelle Vague francesa. O resultado é uma obra em que a…
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M
John Boorman’s film strips away the noisy sentimentality of the typical crime thriller to reveal something far more elegant: the absolute futility of individual rebellion. Walker operates as a magnificent phantom, a hollow shell stripped of warmth and driven solely by an unyielding, predictable intent. He does not need to manually dismantle the faceless, corporate syndicate that wronged him; his mere presence as an unstoppable force induces panic, causing the organization’s middle managers to turn on and destroy one another.…
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P
Walker é um homem que se recusa a morrer. Essa é a primeira grande mentira de Point Blank. John Boorman filma a trajetória desse gângster com uma atmosfera tão etérea que, depois de meia hora, você começa a se perguntar se o protagonista de fato sobreviveu àquele tiroteio na cela de Alcatraz ou se tudo o que estamos vendo é apenas o delírio agonizante de um homem que ficou para trás. A primeira coisa que nos puxa para dentro desse…
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P
Just when everyone thought good old noir was under the ground, John Boorman resurrected it in style, mixing it with a little psychedelia and avant-garde techniques, adding sex appeal of blond babes Angie Dickinson and Sharon Acker, and last but not least, placing the tough guy Lee Marvin in the deadly assignment of getting the money he was double-crossed for. Topnotch example of innovative, hypnotic and thrilling filmmaking.
- Synopsis
- After being double-crossed and left for dead, a mysterious man named Walker single-mindedly tries to retrieve the rather inconsequential sum of money that was stolen from him.
- Director
- John Boorman
- Writer
- Alexander Jacobs, Rafe Newhouse, David Newhouse
- Studio
- Metro-Goldwyn-Mayer, Winkler Films
- Country
- USA
- Language
- English
- Year
- 1967
- Runtime
- 92 mins
- USA30 Aug 1967
- UK21 Dec 1967
- Germany01 Mar 1968
- France06 Mar 1968
- Netherlands28 Aug 2008
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