Corey is a cool, aristocratic thief, released from prison on the same day that Vogel, a murderer, escapes from the custody of the patient Mattei, a cat-loving police superintendent. Corey ... See full summary »
The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
Based on the theme of the individual pitted against the large, impersonal organization. Here the central character is an old-fashioned loner of a gunman embroiled with a large-scale, corporate criminal operation behind a respectable-looking 'front'. Without delving into psychology or motivation, the film places emphasis on action and surface appearances, superbly capturing the glossy, depersonalized feel of a 1967 Los Angeles--a nightmare landscape of concrete, glass and coiling freeways. Written by
The wig worn by Lee Marvin's stunt double during the backstage fight at The Movie House is noticeably different than Marvin's hair. See more »
You're a very bad man, Walker, a very destructive man! Why do you run around doing things like this?
I want my money. I want my $93,000.
$93,000? You threaten a financial structure like this for $93,000? No, Walker, I don't believe you. What do you really want?
I - I really want my money.
Well, I'm not going to give you any money and nobody else is. Don't you understand that?
Who runs things?
Carter and I run things. I run things.
What about Fairfax? Will he pay me?
Fairfax is a man who signs ...
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Point Blank kind of came and went in theaters but I can't imagine anyone who saw it in 1967 left forgetting John Boorman's tough and beautiful film. A simple story told in a very stylish and, at times, surreal manner. Though the storyline is a variation on "revenge" themes, it is Boorman's images that open it up and find pay-dirt. Images of Lee Marvin emptying his pistol in slow motion, the sound of footsteps over a string of pictures that curdle the mind, and the seemingly limitless use of rawness perfectly realized in the action and performance by Marvin and,interestingly, Angie Dickinson. There is a wonderful conflict between the primal Marvin and the Corporate Crime world which he cannot understand. Marvin knows survival of the fittest- not the richest. It's hypnotic and aggressive. Boorman balances perfectly on the line between the two.
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