Image Unavailable
Color:
-
-
-
- Sorry, this item is not available in
- Image not available
- To view this video download Flash Player
Point Blank (BD) [Blu-ray]
Additional Multi-Format options | Edition | Discs | Price | New from | Used from |
Watch Instantly with | Rent | Buy |
Point Blank | — | — |
Genre | Drama, Suspense |
Format | Multiple Formats, Blu-ray, Dolby, DTS Surround Sound, NTSC, Widescreen |
Contributor | David Newhouse, Judd Bernard, Lloyd Bochner, Sharon Acker, John Boorman, Keenan Wynn, Rafe Newhouse, Lee Marvin, Alexander Jacobs, John Vernon, Michael Strong, Angie Dickinson, Robert Chartoff, Carroll O'Connor See more |
Initial release date | 2014-07-08 |
Language | English |
Similar items that may ship from close to you
- The Killers (The Criterion Collection) [Blu-ray]Burt LancasterBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
- Charley Varrick (Special Edition) [Blu-ray]Walter MatthauBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
- The Outfit [Remaster]John FlynnDVDFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
- Excalibur [Blu-ray]Nigel TerryBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
- Out of the PastRobert MitchumBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
- Suspiria 4K Ultra HD [4K UHD]Jessica HarperBlu-rayFREE Shipping by AmazonGet it as soon as Tuesday, Apr 2
Product Description
Point Blank (BD) Two years after he is double-crossed and left for dead by his dirty partner, gangster Lee Marvin seeks deadly revenge. This action-packed thriller stars Oscar-winner Marvin ("Cat Ballou," "The Dirty Dozen"), Angie Dickinson ("Dressed to Kill," TV's "Police Woman"), Emmy-winner Carroll O'Connor (TV's "All in the Family," "In the Heat of the Night"), and Keenan Wynn ("Mary Poppins," "Dr. Strangelove"). Directed by Academy Award-nominee John Boorman ("Deliverance," "Hope and Glory"). Produced by Oscar-winner Robert Chartoff ("Rocky," "Raging Bull").
Product details
- Is Discontinued By Manufacturer : No
- MPAA rating : NR (Not Rated)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 2.24 ounces
- Item model number : WHV1000484492BR
- Director : John Boorman
- Media Format : Multiple Formats, Blu-ray, Dolby, DTS Surround Sound, NTSC, Widescreen
- Run time : 1 hour and 32 minutes
- Release date : July 8, 2014
- Actors : Lee Marvin, Angie Dickinson, Keenan Wynn, Carroll O'Connor, Lloyd Bochner
- Producers : Judd Bernard, Robert Chartoff
- Studio : Studio Distribution Services
- ASIN : B00IY1T8T6
- Writers : Alexander Jacobs, David Newhouse, Rafe Newhouse
- Number of discs : 1
- Best Sellers Rank: #12,999 in Movies & TV (See Top 100 in Movies & TV)
- #1,445 in Drama Blu-ray Discs
- Customer Reviews:
Customer reviews
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on Amazon-
Top reviews
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there.
From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link.
Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name.
The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin.
In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair.
Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited.
Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter.
The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank.
He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others.
The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it.
The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange).
The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble.
For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
Top reviews from other countries
and Carroll O' Conner[Archie Bunker] makes this movie a Must See. This movie shows what a cool cat
Lee Marvin is as his portrayal of Parker, who is out to get his 70 grand back from a double cross. If you
enjoyed this flic, check out the remake Payback starring Mel Gibson, Maria Bello, James Coburn and Lucy
Lui. you will be in for a double treat . "Rockin Ron".
Der Rachefeldzug Walkers hat seinen Ursprung im Verrat durch seinen Freund Mal Reese. Nomen est Omen, denn Mal (= das Böse) entpuppt sich auch in der Folge als Erzbösewicht, der Walker nicht nur Geld und (vermeintlich) das Leben nimmt, sondern auch noch dessen Frau. Doch Walker ist nicht einfach auf Rache aus, er will vor allem sein Geld zurück. Doch hat er noch einen anderen Auftrag: Ein Unbekannter, der auch hinter Mal her ist, hilft Walker, die erste Spur zu finden und verpflichtet Walker als Gegenleistung darauf, ihm die Organisation hinter Mal zu liefern. Und Walker führt diesen Auftrag unerbittlich aus. Er findet seine Frau Lynn, und von ihr gelangt er wie auf einer Leiter von Sprosse zu Sprosse der Organisation. Und auf jeder Stufe kommt es erneut zu einem Showdown, und fast jedesmal bleiben Tote zurück. Jedesmal zeigt Walker, dass er ein unschlagbarer Pro ist. Schliesslich, in der letzten Szene des Films, erklimmt er die oberste Sprosse der Organisation. Und hier schliesst sich der Kreis. Wieder ist er in Alcatraz, und wieder ist er der Betrogene.
'Point Blank' ist einer der spannendsten und seiner Erzähltechnik wegen einer der eindrücklichsten Thriller auf der Leinwand. Doch muss man sich auf die Irrealität einlassen, in der die Handlung wie in Trance fortschreitet. Das ist ungewohnt, doch faszinierend, kühl und brilliant.