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Point Blank

1967

Action / Crime / Drama / Thriller

Point Blank (1967) download

Point Blank

1967

Action / Crime / Drama / Thriller

Available in: 1080p.BluRay 2160p.BluRay.x265

Download Subtitles

30

93% TOMATOMETER · 46 reviews

83% AUDIENCE · 5K ratings

7.2/10 · 27.2K

1080p.BluRay 2160p.BluRay.x265

Download Subtitles

based on novel or book overdose alcatraz prison revenge organized crime cult film

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Point Blank (1967) download

Point Blank (1967) download

Point Blank (1967) download

Plot summary

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

Top cast

Ethelreda Leopold as Conventioneer

Chuck Hicks as Guard

Kenneth Gibson as Conventioneer

Angie Dickinson as Chris

Tech specs

1080p.BLU 2160p.BLU.x265

1.44 GB

1920*1080

English 2.0

Not Rated

Subtitles

23.976 fps

1 hr 32 min

Seeds 91

4.17 GB

3840*1632

English 5.1

Not Rated

Subtitles

23.976 fps

1 hr 32 min

Seeds 18

Comments 18

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Doublefeature 104 days ago

Terrible movie

MonsterIsland 107 days ago

Fearchanne, 4K release

Tveitt 107 days ago

Point Blank never was a stereo movie, so you can't have that, unless you process a simulated stereo sound. Once in a while, re-release companies put the mono sound channel as the centre channel, and in no other (I don't know if thats' the case with this release). But it's easy to playback the film and route the sound to two or all of your spekaers, at home. So, complaining about it is unnecessary, guys! I'm sure you get all the sound that came with the movie.

Jean_Luc_Picard 107 days ago

In 1080p version, sound is mono, left side only.

Fearchannel 107 days ago

So this is a new listing of the OLD file. Certainly would love to have the CORRECT sound on both ears, yes? Till then, everyone, you can watch Mel Gibson's Payback remake. DO NOT watch that film's director's cut - SUCKS

cntspk616 108 days ago

I'm Walker... I want my money. I'm emotionally impulsive and fire my mental anguish at point blank range. So you better not upset my feelings, kid.

russalex86 761 days ago

Sound is still only coming out of the left side.

lancemarcus 799 days ago

4K P L E A S E

Tahir571 1378 days ago

Stylish

diamonds101 1944 days ago

720p please

casing 2037 days ago

no sound

jedani 2239 days ago

sound on left ear only

diladoc 2279 days ago

Has anyone noticed the sound quality? Its in Mono not Stereo. Weird!

loenewbiez 2336 days ago

Pls upload the 720p version

saber_92 2503 days ago

720p please

superfeet 2735 days ago

Classic - and the WALK ... ;) ...

hellraiserball77 3534 days ago

great classic!!!

redlightning 3794 days ago

Fantastic quality on my 60" TV. A great movie. Thanks!

Showing 18 of 18 threads

IMDb reviews

From IMDb

9 / 10

You're a very bad man, Walker, a very

John Chard

You're a very bad man, Walker, a very destructive man! Point Blank is directed by John Boorman and collectively adapted to screenplay by Alexander Jacobs…

You're a very bad man, Walker, a very destructive man! Point Blank is directed by John Boorman and collectively adapted to screenplay by Alexander Jacobs, David Newhouse and Rafe Newhouse from the novel The Hunter written by Richard Stark. It stars Lee Marvin, Angie Dickinson, Keenan Wynn, Carroll O'Connor, Lloyd Bochner and Michael Strong. Music is by Johnny Mandel and the Panavision cinematography (in Metrocolor) is by Philip H. Lathrop. Betrayed by wife and friend during a robbery, Walker (Marvin) is left dying on a stone cold cell floor at closed down Alcatraz... Pure neo-noir, a film that could be argued was ahead of its time, given that it wouldn't find a fan base until many years later. Yet it deserves to be bracketed as a benchmark for the second phase of noir, a shining light of the neo world, experimenting with techniques whilst beating a true film noir heart. The story is deliciously biting, pumped full of betrayals and double crosses, fatales and revenge, death and destruction. It even has a trick in the tale, ambiguity. It all plays out in a boldly coloured Los Angeles, the photography sparkles as Mandel lays an elegiacal and haunting musical score over the various stages of the drama. The talented Boorman has a field day with the elements of time, shunting various strands of the story around with sequences that at first glance seem out of place, but actually are perfect in context to what is narratively happening, the director gleefully toying with audience expectations. While suffice to say angles are tilted and close ups broadened to further style the pic. Then there is Walker, a single minded phantom type character, played with grace and menace by Marvin - who better to trawl the Los Angeles underworld with than Marv? This guy only wants what he is owed from the robbery, nothing more, nothing less, but if the meagre reward is not forthcoming, people are going to pay with something more precious than cash. His mission is both heroic and tragic, with Boorman asking the viewers to improvise their thought process about what it all inevitably means. Funding the fuel around Marvin are good players providing slink, sleaze and suspicion. Deliberate pacing isn't for everyone, neither is stylised violence and stylish directorial trickery, but for those who dine at said tables, Point Blank, and Walker the man, is for you. 9/10

7 / 10

I had to watch this a couple of times to get it...

AlsExGal

... and maybe that's ultimately why it failed at the box office in 1967. People generally got only one shot at the apple as far as viewing went before years…

... and maybe that's ultimately why it failed at the box office in 1967. People generally got only one shot at the apple as far as viewing went before years passed and it got on TV. Now that you have continuous access to a film, whether via streaming or DVD, you can do back to back viewings and catch everything. 1967 was a good year for Lee Marvin at MGM, where he made two movies for the studio that have ended up in the 1,001 Movies You Must See Before You Die book, this one and The Dirty Dozen. John Boorman does some stylistically interesting things, but it's a bit too much, the flourishes calling too much attention to themselves and distracting from the story. He had become much more masterful at letting the visuals contribute to the advance of the story by the time he made Deliverance and Excalibur, IMO. These flashbacks Marvin/Walker kept having to events that had previously occurred in the movie - and in a movie that clocks in at under 95 minutes, at that - just seemed like overkill to me. I found the plot terribly confusing the first time around. The crooks were hiding out in Alcatraz, where regular tours are conducted? Heck, Marvin himself is shown on such a tour very early in the film. I had no concept of what Marvin's life was supposed to have been before the events of the movie. In the flashback where he met his wife, he appears to be a dockworker straight out of On the Waterfront. The bit where the future marrieds circle each other, locked in eye contact was kinda sexy, but the presence of all of Marvin's coworkers standing one inch away from them was weird. I also didn't understand the connection between Walker and Reese or what this incredibly crowded party was where they reunited or the other barroom scene where Reese knocks Walker to the floor and climbs on top of him to tell him how badly he needs money. These scenes didn't make sense to me at all, but they didn't ruin my overall enjoyment of the movie. I liked Carol O'Connor as the Nicest Guy in the Mob. Keenan Wynn's character I didn't get. He somehow finds Walker when no one else knows he's alive and recruits him in pursuing mutual interests. I thought for the whole movie until the final scene that he was some kind of law enforcement - a Fed, maybe. The ending is also vague, I suppose deliberately so. Wynn tells the Hired Gun to leave the bag with the money, so I guess Walker gets the money? Though we don't see it explicitly. Anyway, I just love the 60s look - the architecture, the cars, the hairstyles, the clothes. I loved the hamburger joint where Marvin and Dickinson ate with the giant windows. I loved her pad with the balcony that looked down on the living area. I loved O'Connor's sprawling retreat. I loved the technology! I guess mob millionaires had remote controls for their TVs in 1967 (Well, Jack Lemmon had one in The Apartment way back in 1960, and he was at best a middle-class schlub). Oh, yeah, I also dug O'Connor's primitive speaker phone, where he put the receiver in some kind of device so you suddenly had speaker phone. The thing I missed the most? The screenplay, in its attempt to be ultra-cool, neglects to provide wronged gangster Lee Marvin with the one ingredient that is indispensable to the sort villainous hero he specialized in, namely humor. This is one of the few Lee Marvin films that contains not one memorable zinger, delivered in that patented, guttural drawl of his. It's worth a look, but I can see why 1967 audiences didn't take to it, with only one viewing to "get it".

More reviews on IMDb

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