127 user 36 critic

Point of No Return (1993)

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A government fakes the death of a criminal to turn this young woman into a killer on its service.


John Badham


Luc Besson (film La Femme Nikita), Robert Getchell (screenplay) | 1 more credit »





Cast overview, first billed only:
Bridget Fonda ... Maggie
Gabriel Byrne ... Bob
Dermot Mulroney ... J.P.
Miguel Ferrer ... Kaufman
Anne Bancroft ... Amanda
Olivia d'Abo ... Angela
Richard Romanus ... Fahd Bahktiar
Harvey Keitel ... Victor the Cleaner
Lorraine Toussaint ... Beth
Geoffrey Lewis ... Drugstore Owner
Mic Rodgers ... Cop
Michael Rapaport ... Big Stan
Ray Oriel Ray Oriel ... Burt
Spike McClure Spike McClure ... Johnny D
Lieux Dressler ... Johnny's Mom


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 KGF Visser

Plot Summary | Plot Synopsis


The Government gave her a choice. Death. Or life as an assassin. Now, there's no turning back.

Motion Picture Rating (MPAA)

Rated R for strong violence, and for language and sexuality | See all certifications »

Parents Guide:

View content advisory »





English | French

Release Date:

19 March 1993 (USA) See more »

Also Known As:

Girl No. 5 See more »


Box Office

Gross USA:

See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


| (TV) | (TV)

Sound Mix:

Dolby SR


Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »

Did You Know?


Bridget Fonda and Harvey Keitel starred in Finding Graceland (1998). See more »


In the Mardi Gras assasination scene, Maggie's Anschutz .22LR, match, single-shot bolt-action rifle is fired semi-automatically. See more »


Maggie: Oh, I think she's saying, "Stick it in me twice a day, and I'll do anything for you. I'll lick the ground you walk on."
See more »

Alternate Versions

TNT/TBS broadcast version includes some alternate takes of dialogue with less profanity (incl. Maggie's argument with Bob about leaving the organization). See more »


Referenced in Pulp Fiction (1994) See more »


Written and Performed by Harry Perry
See more »

Frequently Asked Questions

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User Reviews

"no return" says it all
5 February 2007 | by bicoastalrollercoasterSee all my reviews

Don't think for a moment that this film establishes, let alone delves into, the conflicts and diametrically opposing aspects found within our protagonist, Maggie (Bridgit Fonda). Instead, "Point of No Return" is all over the place, this because of the screen-scrivener's apparent use of stream of unconsciousness.

Consequently, there's no return to reality (if there was any from the start) once this train's left the station. Indeed, the film's a mishmash of conflicting scenarios: "She's a psycho!" "No, she's a tender-hearted lost soul." "She's a man-eater!" "No, she's a fragile child." "She's a seasoned siren!" "No, she's only now in the throws of first love." And, so, on and on the celluloid chugs.

See, presently, femme fatale Maggie, the "Assassin" (title in the UK), enters into training as a kill-joy for the US government. How she got to that point is truly ludicrous. And worse is fact that a third of the movie is wasted in failed attempt to establish as believable her two-dimensional "transformation" (it's maybe better to think in binary terms: "0-1" transposed into "1-0").

Moreover, Maggie, in seeking out to silence each target, kills numerous others. Talk about collateral damage. Innocent victims stack up into the dozens! And why, in the first place, is she after those targets? Except in one, truly lame, "nuclear" instance, no reason's given.

Not to be lost in translation here, however, joy can be found in the cinematography-- whether a scene be subtle/tender or full-throttle, or, for instance, in instantaneous scene swipes from the steely still to the crazed. And there's also the sure-handed talents of Fonda and Gabriel Byrne (as Maggie's handler), who provide reason for why anyone ever considering a return to this heavy-handed material.

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