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Point Blank

1967

He thrived on two kinds of people...his victims and his women!

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.

Lee Marvin Angie Dickinson Keenan Wynn Carroll O'Connor Lloyd Bochner Michael Strong John Vernon Sharon Acker James B. Sikking Sandra Warner Roberta Haynes Kathleen Freeman Victor Creatore Lawrence Hauben Susan Holloway Sid Haig Michael Bell Priscilla Boyd John McMurtry Ron Walters George Strattan Nicole Rogell Rico Cattani Roland La Starza Paul Bradley George Bruggeman George Calliga Jerry Catron Dick Cherney Show All…

Alternative Titles

Le Point de non retour, Point Blank – Keiner darf überleben, 포인트 블랭크, 殺しの分け前/ポイント・ブランク, Hevneren fra Alcatraz, Hämnaren från Alcatraz, À queima roupa, Senza un attimo di tregua, Le Point de non-retour, A quemarropa, 步步惊魂, Ο Επαναστάτης του Αλκατράζ, À Queima Roupa, פגיעה בול, À Queima-Roupa, В упор, Bez okolků, A játéknak vége, От упор, Zbieg z Alcatraz, A Quemarropa, شلیک به هدف, Alcatraz morderen, 殺しの分け前ポイント・ブランク, A boca de canó, Tappajan jäljet

Genres

Crime Thriller

Themes

Crime, drugs and gangsters Heists and thrilling action Gritty crime and ruthless gangsters Violent action, guns, and crime Brutal, violent prison drama Explosive and action-packed heroes vs. villains Show All…

Theatrical

30 Aug 1967

USANR

01 Mar 1968

Germany18

06 Mar 1968

FranceU

05 Mar 1971

Portugal

Physical

14 Oct 2006

Germany16

28 Aug 2008

Netherlands6

France

06 Mar 1968

TheatricalU

Germany

01 Mar 1968

Theatrical18

14 Oct 2006

Physical16 DVD, "Süddeutsche Zeitung Cinemathek"

Netherlands

28 Aug 2008

Physical6 DVD

Portugal

05 Mar 1971

Theatrical Barcelos

USA

30 Aug 1967

TheatricalNR

92 mins More at IMDb TMDb Report this page

Popular reviews

Review by Josh Lewis ★★★★★ 6

Boorman takes one of those ruthlessly bleak classic noir stories but realizes it with borderline experimental stylistic flourishes that create a strange, hypnotic atmosphere out of the genre's cliches; deliriously and single-mindedly lumbering from crime movie beat to the next in a series of dreamy flashbacks, bizarre light shows, imposing architecture, fractured cutting and violent impulses. God Lee Marvin.
Full discussion on episode 137 of my podcast SLEAZOIDS.
Review by Mike D'Angelo ★★★★ 8

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…
Review by Peter Labuza ★★★★½

Revenge subsumed into corporate policy. A surrealist dystopia about noir's terminator on a meaningless mission.
Review by Filipe Furtado ★★★★★ 1

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.
Review by Todd Gaines ★★★★ 38

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…
Review by Proselyte Magazine ★★★★½ 2

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
Review by matt lynch ★★★★½

already dead.
Review by Jake Cole ★★★★★

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.
Review by Joe ★★★★★ 2

"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…
Review by 🇵🇱 Steve G 🇵🇸 ★★★★½ 7

SOME SPOILERS
Turn your sound up. Right up.
Now put this on.
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…
Review by comrade_yui ★★★★★ 2

what if the hard-boiled noir protagonist was a semiotic ghost?
Review by nathaxnne [hiatus <3] ★★★★★ 1

More than anything else, 'Point Blank' reminds me of an Anglo-American analogue to Seijun Suzuki masterpieces like 'Branded To Kill' and 'Tokyo Drifter'. Discontinuous sound/image mapping, reflections in reflections, shadows framing shadows. Everything bought and paid for and sold out. Lee Marvin is both an agent of vengeance and a patsy, corroded and obsolete in the face of modern management techniques. In a world where corruption is the status quo, befuddlement in low-level thugs is confused with honor. John Boorman's run of straight ruling everything up through at least the mid-eighties begins right here, as well as giving himself over to a corpus of films without a solution wherein every attempt to do so only digs further inside.