Drug addict Maggie Hayward's consistent violence, even in police custody, ends in the execution chamber. However, top secret U.S. government Agent "Bob" arranges a staged death, so Maggie ...
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Drug addict Maggie Hayward's consistent violence, even in police custody, ends in the execution chamber. However, top secret U.S. government Agent "Bob" arranges a staged death, so Maggie can be elaborately trained as a killer. She gets a new cover identity as saleswoman Claudia Anne Doran. She also finds a housemate, building super J.P., a broad-minded, gentle photographer. The two fall in love, and that complicates her government assignments. His influence extends to breeding in her a conscience that supplants her violent tendencies, and desire to continue work for the agency. Written by
Titled "Nikita" during filming, Producer Art Linson and Warner Brothers settled on a new title during post-production that Warner Brothers owned, "The Specialist". However, two months before the film was to be released, Linson was contacted by Warner Brothers executive Bruce Berman, and told that the title would be changed to "Point of No Return". Warner Brothers gave the working title to an upcoming Steven Seagal vehicle, which was yet-to-be-filmed. Ultimately, that movie, The Specialist (1994), ended up starring Sylvester Stallone after Seagal dropped out. See more »
When Maggie jumps back into the Mustang she tosses her purse into the back seat, but it bounces outside the car, the strap catching on the convertible frame. Later she reaches for her purse in the back seat. See more »
You can't just pout and decide you don't want to play anymore.
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This movie is obviously an American translation of the French film "La Femme Nikita", and upon first viewing, the movie was just "okay" at best. However, a second viewing changed that opinion and makes one realize that there is more to this movie than just trying to duplicate an older version. The way in which the actual story of the film is concluded is fine, but so many other aspects are left open creates a stunning contrast. The music is also very well done, mainly due to the lovely vocals of Nina Simone. Another aspect that I enjoyed was the shift in conflict from Maggie vs. herself to Maggie vs. everyone, and then Claudia vs. the system. It is easily said that the rehab and training program did too good of a job in the movie and gave her morals she didn't have previously, but it was this fabulous job that created the second half of the film. All in all, this movie deserves more credit than it is usually given, and if one can get away from the comparisons to "La Femme Nikita" then I think appreciated better.
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