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‘Point Blank’ Review: A Buddy Flick That Hobbles Along

Starring Anthony Mackie and Frank Grillo, Netflix’s 86-minute would-be thriller somehow manages to feel interminable.

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By Elisabeth Vincentelli

If your cinematic wish list includes watching a steel-faced Marcia Gay Harden blast a big guy named Cheetah with a shotgun, then by all means, check out “ Point Blank .” Anybody outside of this niche constituency can skip this flaccid Netflix action flick — including fans of Anthony Mackie and Frank Grillo, who ill-advisedly used their vacation from playing Falcon and Crossbones in Marvel movies.

Directed by Joe Lynch, the film attempts to graft buddy-comedy antics onto a “we’re running out of time!” plot. Mackie’s Paul is a nurse desperately trying to rescue his very pregnant wife, Taryn ( Teyonah Parris ), who was abducted for contrived reasons having to do with Grillo’s character, Abe, a tough guy who may not be as bad as he first appears. There is also something to do with police corruption, which, in case you were wondering, is where Harden comes in.

Paul and Abe find themselves in increasingly ludicrous situations, culminating in an encounter with a diminutive kingpin ( Markice Moore ) whose dominant trait is an acute case of cinephilia: “It’s Friedkin week on TCM,” he announces at one point, bringing up a director who, unlike Lynch, knows what to do with a camera.

The movie starts off promisingly enough, if only because Mackie is a naturally compelling performer. It’s not long before alarm bells go off — especially when a fight in a carwash is set to the Oran “Juice” Jones song “The Rain,” the first in a series of distractingly preposterous soundtrack selections pulled from what sounds like a “Now That’s What I Call the ’80s” compilation. If anything, the film emanates a startling ineptitude , unable as it is to clear some basic standards of craftsmanship.

If a plot about a male nurse and his kidnapped, pregnant spouse feels vaguely familiar to connoisseurs of B movies, it’s because “Point Blank” is a remake of a much superior, lean-and-mean French offering from 2011 . But even that one is no threat to John Boorman’s 1967 noir experiment in the competition for best “Point Blank” ever.

Point Blank

Not rated. Running time: 1 hour 26 minutes.

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Point blank: dissecting a forgotten classic.

Alex is a 28 year-old West Australian who has a…

As soon as Justus D. Barnes fired point-blank at the audience in Edwin S. Porter’s influential The Great Train Robbery , the idea of violence to control an audience was introduced. The ricochet of that powerful shot has rung throughout the history of film, with violence becoming an extremely integral part of narrative storytelling.

It’s a cinematic weapon which can be used in a variety of different fashions to communicate plot, emotion and more. Whilst unknowingly, any director of any action film has been influenced by Edwin S. Porter’s game-changing decision, some directors have even gone out of their way to directly reference the famous confronting shot.

In Sam Peckinpah’s brilliant nihilistic drama Bring Me the Head of Alfredo Garcia , Peckinpah’s misanthropic middle finger to his outspoken detractors, features a drawn out gunfight which ends with a tight closeup with a gunshot blasting the screen.  Peckinpah ‘s telling us that violence has stayed the same, but it’s much more confronting and in your face, using Edwin S. Porter’s iconic visual to draw the point home.

With this in mind, we talk about John Boorman’s avant garde masterpiece Point Blank , a crime thriller which opens with a literal bang, setting up Boorman’s portrayal of violence within the film and immediately grabbing the audience’s attention with a stunning piece of sound design; one which harks back to the old school tactic of the horror jump scare: silence, false sense of security, and BANG!

An Outsider’s Vision

It has been shown repeatedly in cinema that a director working in foreign territory can bring brilliant results.  Jules Dassin made  Rififi in France, Canadian Ted Kotcheff made Australia’s best film with Wake in Fright , and Polish Roman Polanski made one of the definitive American noir films with Chinatown ; these are just some of the examples of talented directors creating iconic films in foreign territories.

This is the case with the English director John Boorman creating the eclectic Point Blank in the United States, with the film being his American debut. At age 32, Boorman had his debut feature film with the documentary Catch Us if You Can .

A musical picture, Catch Us If You Can  focused on The Dan Clark Five, purely made to capitalize on the success of Richard Lester’s successful Beatles film A Hard Day’s Night . Whilst not matching the commercial success of that film, the film scored enough critical success (including influential critic Pauline Kael ), that it gave him a smooth transition into the film industry.

Boorman ‘s American debut would come from acting legend Lee Marvin , who he initially met on the set of Marvin’s most well-known film, The Dirty Dozen . Marvin was interested in making an adaptation of Richard Stark’s novel The Hunter , but had been straddled with a terrible script that Marvin had hated.

Putting his trust on the unknown director, Marvin used his huge star power to gain control of casting and script approval, which he then gave to Boorman in complete trust, a risky move which gave the young director the power that most seasoned directors dream of. These pre-production stages just set-up the overall feel and structure for the film – experimental and putting faith in something new.

When the first cut of Point Blank  was submitted, executives at Metro-Goldwyn-Mayer were obviously befuddled. Shocked at the film’s unconventional storytelling, they immediately ordered re-shoots and an entirely new edit, until it was luckily saved by Margaret Booth , an established editor and executive who starkly told them “You touch one frame of this film over my dead body!” Coupled with this and Marvin’s star power, the film was left untouched once released into mainstream audiences, where it received rave reviews from critics but lackluster box office reception.

Like most great films that fared poorly upon initial release, Point Blank  has become a definitive cult classic, a film whose reputation has grown incredibly over the years due to its groundbreaking avant-garde techniques that it introduced into mainstream American cinema, and just for how incredibly unique it is.

A Modern Day Gangster Tale

When breaking down the plot of Point Blank , it sounds like a quite conventional neo-noir film, essentially a man vs the mob plot with the undercurrent of the worn-out revenge genre, fueled by the 1970’s nihilistic energy of the time. Lee Marvin stars as Walker (originally named Parker in the novel), a career criminal who is recruited by old friend Mal Reese ( John Vernon ) to intercept and rob the courier of a major underground gambling operation.

After the successful robbery within the abandoned Alcatraz prison, Reese double-crosses Walker, shooting him multiple times and leaving him for dead. Along with Walker’s wife Lynne ( Sharon Acker ), Reese escapes the island, using the money to pay back his debts to the mafia and rejoin them.

Walker somehow survives, making his way back to San Francisco, intent on getting revenge on Reese and stealing back his $93,000. Helped by the mysterious Yost ( Keenan Wynn ), Walker finds that getting his money back isn’t as easy as it seems – the mafia works within a corporation method, no-one has money anymore, and the world is much more complex than Walker remembers.

The most notable aspect of Point Blank  is its dream-like erratic editing style, which gives the film its fluid European feel and delivers its narrative in an unconventional non-linear fashion. The film is delivered in a linear motion, yet the frequent flashbacks/callbacks to previous scenes gives quite a disorientating feeling that makes it feel like it is being delivered via clashing timelines.

The editing in Point Blank  is extremely important, as the dream logic that it creates gives the film its mythical feeling. Usually in films, dream sequences are a cheap way for filmmakers to either explore a character’s psyche or backstory, as they allow the director to throw away any logic/basis of reality, allowing them to pull in any setting, character or prop without any organic setups or subtle storytelling. This is not the case here, and to highlight my point we should look at another film which nailed cinematic dream logic.

The other film is Herk Harvey’s Carnival of Souls , another movie which explores a protagonist who has escaped death and now exists in a hazy unreliable reality. Point Blank’s dream logic is backed up by the film’s plot – a simple revenge story where Lee Marvin tears through his enemies, surviving death and getting the ladies.

Whilst most pulpy B-Movies of the time just take that narrative material and deliver it straight, Point Blank takes it and in a post-modern fashion points at it and says “Hey, this really is an impossible male fantasy”. Due to this logic, Lee Marvin’s Walker becomes legend, an urban myth for the crime world, which is highlighted by the film’s ending as Walker simply disappears into the shadows.

This Is Marvin’s Movie

As seen in the film’s pre-production stages, Lee Marvin was an incredibly important factor in getting it made at all. Whilst most actors like to use their star power to fuel their personal passion projects, this film was much more personal for Marvin , who saw himself within the disillusioned character of Walker. This was something that Boorman caught onto early on, framing the film as a biographical study of Lee Marvin himself and his troubled post-World War II existence.

Marvin , like most old school tough guys in Hollywood, was an actor who enlisted in the military just as World War II was commencing. Just at the young age of 18, Marvin joined a marine division who were attacked during the assault on Mount Tapochau in the Battle of Saipan, a surprise attack that killed most of his team.

Whilst he received light wounds, he was medically discharged and sent home, which lead to his acting career. The survivor’s guilt caused by this experience haunted Marvin all his life, causing him to feel distanced from those around him and unable to fit into society within conventional methods.

This feeling of disillusionment and inability to connect to those around you due to a violent traumatic incident are the backbone behind Point Blank’s thematic content. John Boorman has frequently emphasised this interpretation of the film when commenting on Marvin’s past; “His whole platoon was wiped out, except for one other person. And he felt himself to be a coward lying there, and he never lost that. It was survival guilt – and it didn’t help that he had been shot in the arse. Not because he was running away, but because he was lying down when he was wounded.”

Looking Past the Film

The common interpretation of the bizarre journey of Point Blank  is that we’re witnessing Walker’s death dream, with the idea that he died in Alcatraz prison and everything we see is a fantastical revenge fantasy dreamt by the dying protagonist. The film backs up this theory quite frequently with its narrative and stylistic choices, such as the impossibility of Walker surviving the gunshots and being able to swim back to shore, his lack of ability to communicate with those around him, and the disjointed narrative that frequently contradicts itself.

Whilst this is an interesting interpretation of the events depicted on-screen, it’s a theory that doesn’t quite give as much thematic depth to the film, boiling it down into an interesting visual experiment that plays with the tropes of the revenge genre. If you take the film literally and break down its perfect production design and use of setting, you start to understand the greater statement that Boorman is making about modern society and the plight of the everyday man within it.

The use of Alcatraz Prison is the film’s first sign of its thematic depth, as contextually the audience is aware that the prison is infamous for being inescapable. Even though the location is visually arresting and provides a unique setting to open on (it was the first film to use the location since its closure), knowing that it’s an impossible location to leave adds to the difficulty of Walker’s escape. It also gives a metaphorical look at the state of Walker himself – a man who has been robbed of freedom and who is stuck in the past.

An ordinary filmmaker would set the opening of Point Blank  within an abandoned parking lot and shoot the same scenes, but this level of intelligent filmmaking highlights how advanced Boorman’s approach to the bald source material is. As Walker crosses the ocean (water usually being a metaphorical visual for birth/the cleansing of an unclean soul) and re-enters society, Walker finds himself cold to his surroundings.

Instead of just having the character say that out loud or through lazy exposition, Boorman , alongside his art directors Albert Brenner and George W. Davis , reflect that unsympathetic atmosphere through the striking production design and vivid colour palettes.

This intelligent use of production design continues throughout the film, as Walker’s new landscape is dominated by large and personality-less buildings, which highlight the shift from blue collar ingenuity keeping America alive to the growing dominance of faceless corporations. This takeover of vacant enterprises has bled over into the criminal world, with “The Organization” comprising of an ambiguous set of criminals who work professionally within buildings, subverting the common gangster stereotype of street level thugs who deal with physical money.

This introduces one of the main thematic concerns of the film, exploring modern society and the decreasing level of wealth for the modern man. Whilst on a surface level, Walker is merely looking for the money he feels he is deserved (like we all are), the problem isn’t that no-one wants to give Walker the money – it’s that no has money to give him.

In one of Point Blank ‘s later scenes, Walker confronts one of the final men on his list, Brewster ( Carrol O’Connor ), who is exasperated that Walker has nearly collapsed the entire foundation of The Organization due to a lowly amount of $93,000. It’s quite a humorous scene, as Walker chiefly informs Brewster that yes, his revenge has all been for the money, nothing more, whilst Brewster reacts in utter shock.

Whilst this scene speaks to the pulpy nature of the film’s surface narrative, it also adds to its underlying message, that everyone projects a self-worth onto themselves, a level of financially and physical reward that we can never actually gain.

The Plight of the Modern Man

Walker represents the modern man in other ways, due to his quest for vengeance reflecting that of the normal civilian, who is sold the illusion of free will and the “American Dream”. Throughout the film, Walker is convinced he is a lone wolf in his quest for revenge, one man who is slowly unbuckling the system that screwed him over. This is what makes the film’s ending twist – that he has been manipulated by Yost ( Keenan Wynn ) the entire time to wipe out the Organization’s leaders – such an effective ending to Walker’s journey.

Walker causing so much disorder under the illusion of free will speaks to the plight of the modern man, thinking you have freedom to do whatever you want and live by your own rules, but trapped in a job in order to survive and constantly indulging in popular mainstream gratifications.

Stuck under the thumb of a faceless organization, Walker is merely another cog within a broken machine, hence why he disappears into the shadows at the end of the film. Walker recognises his misplacement in this new world and chooses to exit on his own terms, and he won’t let Yost (who represents these new corporations) control him.

Speaking of the Corporation and who they represent, who don’t dress and talk like the typical street thug that have become the go-to stereotype for any crime film, Boorman does have a deliberate look for them and their surroundings. One of the most visually attractive aspects of Point Blank  comes from its clever costume design, which highlight what each character means and what they represent in the overall narrative.

Walker is introduced and starts off wearing neutral grey colours, as he is our protagonist and it’s his journey that we are witnessing onscreen. As Walker gets closer to his objective, his wardrobe and the production design around him shift towards more warmer colours. This shift is seen when Walker returns to his apartment initially, a boring, lifeless place with no colour to it, reflecting the emptiness of his character.

The Corporation itself, including its offices and employees, are all covered in different shades of green, a metaphorical symbol for money. Not only does the colour green signify money, it’s also seen as the colour for life, renewal and prosperity. These both represent on a physical and symbolic level what Walker is seeking the entire film – money (literally) and a new life (metaphorically).

As Walker closes in on in his money near the end of the story, he is donned in full orange and red colours, reflecting how close to the money he is. Walker’s sister-in-law Chris ( Angie Dickinson ) is dressed in a full golden wardrobe, a colour which covers her entire apartment. Gold symbolizes just that – gold or the physical manifestation of wealth. As Chris is Walker’s gateway towards his desired wealth, Boorman makes sure that even her appearance plays an important part in visually telling the story, not purely through exposition.

Lastly, we must touch on the Edwin S. Porter -inspired violence within this film and how it would itself go on to influence many more.   Upon initial release, many critics were outraged by the film’s vigorous violence and escalating bloodshed, one notable mention by film critic Richard Schickel who condemned its “gratuitous violence”.

Point Blank is a key film within a pioneering decade of film; released in the same year as the hugely influential Bonnie and Clyde and The Dirty Dozen , it was very clear that the depiction of violence and its effect upon the audience was taking a much more graphic and nihilistic turn. 

The switch from first person ambiguous gunfire in The Great Train Robbery had now evolved into witnessing a man being thrown off a building in full detail and the gory shoot-out deaths of Bonnie and Clyde . This shift is not only an aesthetic change in the evolution of cinema, but also reflects the changing values in American society.

The growing outrage of the Vietnam War (alongside the graphic footage of it shown constantly in the news) and slowly decaying Hollywood system allowed new filmmakers to come in and push the visual boundaries of American cinema, shepherding in the greatest and most experimental decade in cinematic history – the  pioneering 1970’s.

Much like The Great Train Robbery , Point Blank has had a subtle but revolutionary impact on cinema, most notably the American crime genre and introducing French New Wave tactics into mainstream narratives.

The film’s notable scattershot editing was something shocking to witness in 1967, having the same mind-blowing effect on people that Bonnie and Clyde’s gory violence had or The Dirty Dozen’s indictment on religion, simple cinematic techniques that are taken for granted today. All crime films that followed Point Blank owe a debt to it, a film which pushed the boundaries visually and technically, informing us of the importance of artistic production design and the impact of onscreen violence.

Even this year, Tom Tykwer’s our review ) borrows heavily from this film, with its use of frequent brief flashbacks and turbulent editing style. Weirdly, Point Blank tows the line between rightfully celebrated and criminally underrated, yet it is only usually talked about by old school filmmakers such as John Landis and Steven Soderbergh , an outspoken fan of it who made a very similar film with The Limey , a great little crime flick that was also criticised at the time of its release.

Visually arresting, incredibly intelligent and genuinely influential on the craft, John Boorman’s Point Blank deserves its title of being an American cinematic classic, a film which dared to push the boundaries of what could be done with the genre and doing so successfully, though sadly overshadowed by the mainstream success of Bonnie and Clyde . A violent punch to the face of generic crime cinema, Point Blank is one film that deserves a new generation of film-watchers to look back on, not only to reflect on its craft but also because it’s just damn entertaining.

What are your thoughs about  Point Blank ? Share them below.

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Brendan fraser's the mummy 4 gets an update from director stephen sommers, casting sylvester stallone's biopic: 8 actors who can play a young stallone, point blank throws a lot of ideas at the wall without ever committing to any one of them, resulting in a thriller that's more confusing than exciting..

The latest Netflix Original movie, Point Blank reunites Marvel Cinematic Universe costars Anthony Mackie and Frank Grillo for a barebones B-movie from cult director Joe Lynch ( Knights of Badassdom , Mayhem ). A loose remake of the 2010 French action-thriller of the same name, Point Blank hits the ground running (somewhat literally) and attempts to tap into Mackie and Grillo's screen chemistry to deliver a worthwhile buddy film that takes a whole lot of twists and turns in a fairly small amount of time (right under 90 minutes, in fact). Unfortunately, the movie spends so much energy on trying to subvert expectations that it forgets to tell a compelling story along the way. Point Blank throws a lot of ideas at the wall without ever committing to any one of them, resulting in a thriller that's more confusing than exciting.

Mackie stars in Point Blank as Paul, an ER nurse who hopes to become a doctor one day, but has other things on his mind at the moment - namely, his pregnant wife Taryn (Teyonah Parris), who is due to give birth to their son in three weeks. However, when Paul is assigned to care for a badly-injured career criminal named Abe (Grillo), who's been brought to the hospital under mysterious circumstances, Abe's younger brother Mateo (Christian Cooke) kidnaps Taryn and holds her hostage as collateral. Left with no other choice, Paul is forced to break Abe out of the hospital and take him to meet up with Mateo without alerting the police in the process. With hard-edged Detective Regina Lewis (Marcia Gay Harden) hot on their tail, Paul and Abe soon find themselves tangled in a deadly web of gangsters and corrupt cops... and no one to turn to for help but each other.

Many of Point Blank 's problems seem to stem from the script by Adam G. Simon ( Man Down ), which continuously holds information back in an effort to make the film seem like more than one long chase sequence - which, for the most part, is exactly what it is. The approach partly works in the beginning; Point Blank starts off feeling like a lean, mean action movie that morphs into a buddy adventure just as quickly, all within the first half hour or so. Lynch knows better than to let his foot off the gas pedal during all this and serves up a string of fast-cutting action scenes while constantly changing up the setting (from a foot-chase through a hospital to a fist-fight in a car wash), in order to keep things interesting. However, by the time the film shifts gears again and morphs into a dramatic thriller about the thin line between cops and criminals before even reaching its half-way point, the effect wears off and Point Blank  becomes somewhat exhausting to watch (in a bad way).

Because it keeps trying to be so many things at the same time, Point Blank has an equally hard time fleshing out Paul and Abe as characters. The pair are presented as foils at first, with Paul embodying a more nurturing sense of masculinity that contrasts with Abe's gruff manner. While the idea is that they gradually come to relate to each other and recognize that they're both just working-class people trying to care for their families, Point Blank struggles to show how the two reach this understanding over the course of their journey together - and in the end, Mackie and Grillo's relaxed chemistry isn't enough to make up for the flaws in Paul and Abe's development, either. Something similar could be said for Detective Regina Lewis and her own role in the larger conspiracy at hand, despite Harden's efforts to bring the character more depth than the script provides. Parris is also wasted in the role of Taryn, who's only really included so that her pregnancy can serve as the equivalent of a ticking time-bomb that keeps the plot flowing steadily.

Point Blank  once again tries to pull the rug out for under viewers' feet in its third act by throwing some comedy into the mix, along with some self-reflexive humor that speaks to Lynch's roots as a cinephile. It works well enough on its own, but clashes with the heavy emotional moments that unfold in the film's second half, resulting in some jarring tonal dissonance from scene to scene. The movie runs out of gas by this point too and ends up scrambling to try and tie everything up in a neat and tidy bow. As a result, the film's payoffs to its story threads and themes are largely unsatisfying and the whole thing ends up feeling pretty rough around the edges. It's really too bad; there's something admirable about the way Point Blank  aspires to buck genre conventions, even if it never figures out how to smoothly blend its various elements together.

Altogether, Point Blank  is yet another unmemorable Netflix Original movie that could've been something better, had it gone through some additional refinement. Instead, it's a film that makes for passable entertainment to watch at home, especially for those who are just looking for something to distract them, but takes less than two hours to get through. Mackie and Grillo remain engaging action movie actors and their fans have plenty to look forward from them over the next year, but it's hard to imagine that this is what they had in mind when they learned that the pair were teaming up with Lynch for a gritty crime thriller.

Point Blank is now streaming on Netflix. It is 86 minutes long.

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Point blank, our rating:.

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Point blank, common sense media reviewers.

Super-violent action thriller with profanity, blood.

A Lot or a Little?

What you will—and won't—find in this movie.

Good triumphs over evil. Redemption is possible.

Hero is courageous, smart, loyal, and resourceful.

Extreme violence: frequent gunfire, point-blank ki

Profanity is constant: "p---y," "d--k," "Jesus," t

Pepsi, PT Cruiser.

Morphine and Toradol are administered to an injure

Parents need to know that Point Blank, an action thriller in film noir mode, is a remake of a 2010 French movie of the same name (aka "A Bout Portant"). Set in Cincinnati, for this story's purpose a city teeming with crime and police corruption, the movie relies on a familiar premise -- an…

Positive Messages

Positive role models.

Hero is courageous, smart, loyal, and resourceful. Villains range from 100% evil to nuanced men caught up in events out of their control.

Violence & Scariness

Extreme violence: frequent gunfire, point-blank killings, bloody corpses and wounded, car chases and crashes, pregnant woman in jeopardy, brutal struggles.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Profanity is constant: "p---y," "d--k," "Jesus," the "N" word, and countless uses of "f--k," "s--t."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Morphine and Toradol are administered to an injured patient. Cigarettes. Social drinking in bar.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Point Blank, an action thriller in film noir mode, is a remake of a 2010 French movie of the same name (aka "A Bout Portant"). Set in Cincinnati, for this story's purpose a city teeming with crime and police corruption, the movie relies on a familiar premise -- an innocent caught up in circumstances beyond his control must summon his courage and smarts to defeat a powerful enemy. Violence is brutal; gunfights, up-close shooting deaths, bloody victims, car chases/crashes, hand-to-hand fights, and repeated life-or-death moments for the hero and a pregnant woman come early and often. Countless uses of "f--k" and "s--t" are heard along with other curses and racial slurs (i.e., "ass," "p---y," "d--k," variations of the "N" word). Drugs (morphine and Toradol) are administered by syringe, mostly to ease the pain of wounded man. Characters smoke cigarettes. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (1)

Based on 1 parent review

Would prefer a plot with my violence

What's the story.

As POINT BLANK opens, a well-respected district attorney has been murdered. Abe ( Frank Grillo) has been apprehended after a gun battle and nearly fatal accident. The suspect is the hospital under the care of Paul ( Anthony Mackie ), a capable nurse. When an intruder attacks Abe, Paul is able to fight back and fend him off. Before the shaken Paul returns home to his very pregnant wife Taryn (Teyonah Parris), he's questioned by police, including the sympathetic Detective Lewis ( Marcia Gay Harden ). But Paul's terrifying adventure has just begun. Men follow the unsuspecting Paul home, take Taryn hostage, and demand the nurse's help in getting Abe out of the hospital. Otherwise, they'll kill his wife and unborn son. To do their bidding and save his wife, Paul, along with the injured Abe, who claims he's innocent, are faced with heightening danger from an array of villains, including an angry drug dealer and a ruthless gang of corrupt police officers. The stakes get higher when Taryn's situation intensifies, and a new threat is even more menacing than the first.

Is It Any Good?

Director Joe Lynch has elements of film noir in place: gritty city, guns and blood, dirty cops, criminals with hearts of gold, and an innocent in way over his head, but it doesn't add up to much. The action starts out strong; the stakes are high; the acting is first rate, but as the story plays out it becomes muddy and predictable (who in the room didn't know that Taryn would go into labor before the final credits?). For some, the pounding, pervasive music over the action (what feels like the director's homage to of Edgar Wright's ground-breaking work in Baby Driver) , will be irritating and distracting; for others, it will feel hip and fun. The addition of an overly-cute drug dealer with a movie obsession doesn't help build suspense to the grand finale.

Still, Frank Grillo may have this film noir thing down pat. He's every bit the part, and good at it. Anthony Mackie makes a great Everyman. And, Marcia Gay Harden must relish getting to play a different kind of gal. Point Blank is okay for action lovers, but not for kids.

Talk to Your Kids About ...

Families can talk about the violence in Point Blank. Why do you think there are so many action movies with lots of violence? Why is important for families to understand the impact of violent movies on kids ?

Film noir is specific genre of crime movies. Find out with the term means and take a look at the history of the genre. What elements of film noir are unmistakable in this movie?

How did Director Joe Lynch and his team use specific music to set the mood and up the energy in Point Blank ? Did you like the music? Do you think it helped or hurt the story? Why?

Important filmmaking terms are "source music" and "musical score." Find out the difference between the two.

Movie Details

• On DVD or streaming : July 12, 2019
• Cast : Anthony Mackie , Frank Grillo , Marcia Gay Harden
• Director : Joe Lynch
• Inclusion Information : Black actors, Female actors
• Studio : Netflix
• Genre : Thriller
• Topics : Adventures
• Run time : 85 minutes
• MPAA rating : NR
• Last updated : February 18, 2023

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Point Blank (1967)

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Point Blank

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Point Blank review – mediocre action thriller remake lands on Netflix

Anthony Mackie rises above a rickety remake of a French thriller about a nurse teaming up with a criminal after his wife is kidnapped

I n order to create the optimal viewing experience for rickety Netflix thriller Point Blank, a quickie remake of the acclaimed 2010 French film, expectations should either be lowered or, even better, eradicated completely. It’s an easy-to-follow strategy given that a) Netflix original films are patchy at best and b) here’s yet another one of them that’s received no form of marketing push. The Adam Sandler/Jennifer Aniston comedy Murder Mystery was a solidly enjoyable watch given that it was “mostly agreeable” compared to “utterly wretched” like Sandler’s other Netflix titles while Hilary Swank’s sci-fi thriller I Am Mother was a pleasant surprise given that no one really knew it existed until the day it dropped.

In a different era and with a bit more budget, Point Blank could have been a throwaway January release, probably starring Liam Neeson, but now the best place for it is undeniably Netflix , its undemanding nature and flat aesthetic making it an adequate background watch at best. Yet there’s also just enough here to make me wish it had been that bit better, a serviceable watch with a frustrating throughline teasing what could have been. The film’s most pronounced ace is star Anthony Mackie, taking over the everyman lead from Gilles Lellouche, playing ER nurse Paul, a man dealing with long, gory shifts at work and a heavily pregnant wife (the ever-underused Teyonah Parris, last underutilised in If Beale Street Could Talk) at home.

His life soon collides with Abe (Frank Grillo, playing a parody of himself), a hardened criminal in his care, suffering from a gunshot wound after what appears to be a botched getaway from a murder scene. Paul is suddenly dragged in deeper after his wife is kidnapped and Abe’s brother informs him that to get her back safely, he has to break a heavily guarded Abe out of hospital.

At a brisk 86 minutes, Point Blank doesn’t have time to waste and in the first act, the snappy pace does give the film a lightfooted slickness, throwing us into the action and securing our interest with a juicy set-up, one that’s already inspired three other remakes. It also means the clunkier elements don’t have much time to stick or, if they do, they provide some unintentional humour, from the threatening texts always sent, for some bizarre reason, in quotation marks (“I’m gonna stab you thru the heart w a fucking pencil” – BIG D) to the clunky first draft dialogue (“What happens if something happens to my baby?”). We’re never far out of familiar territory (the plot revolves around securing a USB stick) but for a while, the film hurtles us along with it anyway.

It’s only when the initial escape is out of the way that the engine starts to sputter. The simplicity of the conceit becomes muddied with some rather confusingly etched nonsense involving corrupt cops, an unconvincingly grizzled Marcia Gay Harden as the shotgun-toting detective in hot pursuit and a glaringly obvious plot twist. Director Joe Lynch can’t quite decide what tone to stick with and alternates between unfunny buddy comedy (“I bet your wife kidnapped herself” is one of Grillo’s worst quips) and balls-to-the-wall gonzo action movie. Lynch’s background in horror does mean he stages some shock moments of gore with finesse but the action is largely pedestrian and hampered by some ill-fitting 80s music choices.

The cast is fitted out with Netflix stablemates from Mackie (last seen in the “no homo” episode of Black Mirror as well as sci-fi drama IO and next set to fill Joel Kinnaman’s boots in Altered Carbon’s second season) to Grillo (who headed up 2017’s Wheelman) to Boris McGiver (Tom Hammerschmidt in House of Cards) and also comes with that all-too-familiar cheapness that afflicts many of their films. As mentioned, Mackie is firing on all cylinders, showing yet again he’s an actor worthy of much more than what he’s given and he is afforded some nice lines as a man uncomfortable with being forced into action mode (although Mackie’s buff post-Marvel physique does make him a rather less convincing everyman that Lellouche). He also has strong chemistry with Parris, another actor who is yet to receive enough screentime (outside of underrated – and now cancelled – comedy series Survivor’s Remorse) and the pair spark so nicely together than in a just world, they would be headlining a romcom on the side.

Rarely rising above its stoically maintained mediocrity, Point Blank exists simply to pad out Netflix’s ever-expanding library, before they lose so much of it to Disney+ and HBO Max . There are worse films to spend 86 minutes with on a Sunday afternoon but, more importantly, there are also so, so many better ones instead.

Point Blank is now on Netflix

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Tv/streaming, collections, great movies, chaz's journal, contributors, grosse pointe blank.

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John Cusack is one of those rare actors who can convincingly look as if he is thinking about words of many syllables. He seems smart, and that's crucial for the character he plays in "Grosse Pointe Blank,'' because like so many really smart people, this one is clueless about matters of the heart.

Cusack plays Martin Q. Blank, a professional assassin who is more articulate while discussing his kills with a shrink than while explaining to his high school sweetheart why he stood her up at the prom.

As the movie opens, he's preparing to do a job with a high-powered rifle, while simultaneously discussing his busy schedule with his office manager (played by his real-life sister, Joan Cusack ). She thinks he should attend his 10th high school reunion in the Detroit suburb of Grosse Pointe, Mich. He thinks not. He misses on the assassination attempt, however, and that leads to an interesting coincidence: He can redeem himself by pulling a job in Detroit--killing two birds, so to speak, with one stone.

He discusses his plight with his psychiatrist ( Alan Arkin ), a man alarmed to learn he has a hit man for a client.

"I don't think what a person does for a living is necessarily who he is,'' Blank observes reassuringly, but the shrink gives the impression of a man constantly holding himself in readiness to take a bullet.

Cusack plays Blank as a man who entered his chosen profession with good skills and high spirits, but is now beginning to entertain doubts about its wisdom as a lifelong career. He has no qualms about killing people (someone has to do it, and as a character in the film observes, it's a "growth industry''). But for him, it's getting to be the same old same old. Against his better judgment, he caves in and heads for Michigan.

Grosse Pointe may hold the key to why Martin's life seems on hold. Unfinished business waits for him there: a woman named Debi ( Minnie Driver ), whom he loved in high school, but stood up at the senior prom.

Tooling through town in a rented car, he hears her voice on the radio and is soon peering through the window of the local radio station. She's a deejay, who smoothly segues into asking her listeners how she should feel when her prom date turns up 10 years late.

Another major player in Martin's life is Mr. Grocer ( Dan Aykroyd ), also a professional assassin, who wants Martin to join a union he is forming: "We could be working together again, for chrissakes! Making big money! Killing important people!'' He is also in Grosse Pointe, possibly on the same assignment, and soon Blank and Grocer are seated uneasily across from each other at a diner, both armed and both dangerous, mostly to each other.

The film takes the form but not the feel of a comic thriller. It's quirkier than that. The underlying plot, which also involves Martin being shadowed by assorted mysterious types who want to kill him, is not original. But the screenplay, by Cusack, Tom Jankiewicz and others, uses that story as a backdrop for Martin Blank's wry behavior. It's not often that a film about professional killers has a high school reunion dance as its centerpiece, and rarer still that the hero kills someone during the dance and disposes of the body in the school boiler.

I enjoyed the exchanges between Cusack and Driver as the couple on a long-delayed date. Affection still smolders between them, and it was sexy the way Driver casually put an arm around Cusack's shoulders, her hand resting possessively on the back of his neck. I liked the dialogue, too, and the assortment of classmates they encounter. Have you ever noticed that whatever odd qualities your friends had in school seem to grow as the years go by? Despite these qualities, the movie for me is a near-miss. One of the problems is the conclusion, in which things are resolved with an elaborate action sequence. This sequence may have been intended ironically, but the gunshots are just as loud as if they were sincere. Too many movies end like video games, with characters popping up and shooting each other. "Grosse Pointe Blank,'' which takes such a detached view toward killing and has such an articulate hero, could have done better.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Grosse Pointe Blank (1997)

Rated R For Strong Violence, Language and Some Drug Content

106 minutes

John Cusack as Martin Q. Blank

Minnie Driver as Debi Newberry

Alan Arkin as Dr. Oatman

Dan Aykroyd as Grocer

Joan Cusack as Marcella

Jeremy Piven as Paul Spericki

Directed by

• George Armitage
• Tom Jankiewicz
• D. V. Devincentis
• John Cusack

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Point Blank

Midway between Philip Marlowe and John Wick, Walker, the hero of 1967’s Point Blank is a stylish hero in a film so stylish and influential that its original impact can now only be guessed at, so relentlessly has it been plundered in the ensuing decades. Soderbergh is a fan, as is Tarantino, and so, of course, is Chad Stahelski (of John Wick fame). Mel Gibson and director Brian Helgeland remade it in 1999 as Payback (go for 2006’s Payback: Straight Up , the dirtier director’s cut, if you’re heading that way) but it’s Boorman’s framing and his use of locations, space and sound that have made Point Blank such a moodboard/sourcebook, as well as the cool ruthlessness of its main character, played by Lee Marvin at the top of his game.

We’re on the nursery slopes of the New Hollywood era, with Brit director John Boorman being handed the gig by a studio gambling that this was the way to recapture the lost youth market and hoping that Boorman was the answer to the ever increasing problem of bums on seats – or lack of them. A rave review by critic Pauline Kael of Boorman’s Catch Us If You Can (an ironic take on the 1960s counterculture featuring the pop group the Dave Clark Five) had brought Boorman to the attention of MGM and Lee Marvin, who had signed on to the movie on the understanding that he had total control over it. He gave all that control to the rookie Boorman. If you listen to the commentary track by Boorman and Steven Soderbergh it was clear that Marvin still had a great deal of artistic input, so he wasn’t giving it all away, just using his heft to get the suits off Boorman’s back. Maybe he should get a co-director credit.

Anyhow, the plot. With John Wick simplicity, it’s about a guy called Walker (Marvin) who has been done out of his share of a heist (on Alcatraz, bizarrely) by fellow heister Reese (John Vernon). Shot and left for dead, he’s also lost his woman (Sharon Acker) to Reese into the bargain.

Except Walker isn’t dead. And for the rest of the film it’s a case of him working his way up up a pyramid of vengeance like a destroying angel, hooking up with his girl’s sister, Chris (Angie Dickinson), along the way, trying to find the Mr Big of the organisation – always referred to as The Organization. All Walker wants is his $93,000, not a cent more or less.

There is a school of thought that insists, in Sixth Sense style, that Walker is actually dead. The film can definitely be watched that way, if a further layer of metaphysicality is what you’re after. Boorman’s use of wide spaces, empty locations, sound overlapping from one scene into another and the occasional, and dramatically massive, use of silence makes it a school of thought it’s easy to sign up to. And notice Keenan Wyn as a guy called Yost. He introduces himself as a cop of some sort, but behaves throughout – appearing and disappearing at random – like a guardian angel.

The tug isn’t all in the one direction, which is what makes this film open to interpretation. Johnny Mandel’s soundtrack says neo-noir, for example, while Philip Lathrop’s bright, sharp cinematography says not – he’s shooting Point Blank the same way he did The Pink Panther . The pristine rinky-dink style.

Being 1967, there’s some free love – that three-way between Walker, Vernon and Lynne (Acker). And Boorman hints also at psychedelics in his use of colours here and there – a shattered mess of various bathroom lotions and potions at one point being almost like a hippie oil wheel.

Colour coding is strong throughout, with the palette using signal yellows early on, moving through the warm end of the spectrum and ending up with vivid reds, flashing danger, as the finale comes over the horizon.

Some things are disappointing now, and possibly always were. Though Angie Dickinson is everything she should be as the sister of Lynne, the men Walker uses Lynne to gain access to all cluster at the rentavillain end of the bad-guy spectrum. Maybe there are just too many of them. Lee Marvin, according to the IMDb trivia (not always the most reliable of sources) was most concerned with John Vernon as Reese, who he thought wasn’t up to going mano a mano with him. In fact he’s pretty good, a cut-price Robert Shaw type, for sure, but he does it well. Maybe Marvin was worried about Vernon being a TV actor. Different times.

Point Blank – Watch it/buy it at Amazon

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[imdb]tt0062138[/imdb]