Point Blank is a movie that is chock-full of two things most films today are sorely lacking: style and substance.The style comes from director John Boorman. The substance comes from its star, Lee Marvin.
Point Blank tells the story of a guy named Walker (Marvin) who gets double–crossed by his best friend during a robbery. Left for dead, Walker manages to not only survive getting shot, but soon recovers enough to begin systematically tracking down everybody even remotely involved in betraying him.
The story is straightforward enough, and in less talented hand Point Blank would have made a decent thriller. Boorman, whose films have ranged from the classic (Deliverance) to the classically bad (Exorcist II, the Heretic) takes a much different approach to the material and uses just about every trick in the book to tease, titillate and, at times, downright frustrate the audience. Fans of Quentin Tarantino’s films will get a kick out of the way Boorman plays with the narrative of the movie. Personally, I get a kick out of reminding them he was doing it when Tarantino was just four years old.
Marvin, a veteran actor who had risen from the ranks of smalltime character roles (Gorilla at Large) to winning a Best Actor Oscar (Cat Ballou) by the time he hooked up with Boorman for this film, makes Walker the quintessential anti-hero, the kind of a guy who sees no problem in asking his dead wife’s sister (a young and very sexy Angie Dickinson) to seduce the bad guy so he can get to him.
Starring Lee Marvin, Angie Dickinson, Keenan Wynn.
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