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- Patrick Wai24 de junho de 2026John Boorman’s Point Blank is often labeled a crime thriller, but I think the best way to enjoy it is as a psychological mystery. Go in expecting a straightforward revenge story and you’ll probably be disappointed. Instead, embrace the film’s ambiguity and dreamlike quality, and it becomes a much richer experience. It’s always a pleasure to see Lee Marvin on screen. He has an incredible presence without saying very much. Walker isn’t portrayed as an invincible superhero. He’s simply relentless, a man driven by purpose who absorbs punishment and just keeps moving forward. That persistence makes him far more believable and compelling than the typical action hero. The cinematography is outstanding. Nearly every shot feels carefully composed, with beautiful framing, bold use of architecture, and clever sound design that often says more than the dialogue. There are moments that feel surprisingly modern, while others are unapologetically artistic. The jazz club sequences, in particular, create an unforgettable atmosphere that perfectly captures the cool, detached mood of the film. The dialogue and performances also reflect their era. Conversations often feel theatrical rather than naturalistic, which may seem strange to viewers accustomed to modern films. Once I accepted that style, it actually became part of the movie’s unique charm. The traditional gender roles and masculine archetypes also firmly place the film in its time, making it an interesting snapshot of late 1960s cinema. Perhaps the film’s greatest strength is that it refuses to explain everything. Depending on how you interpret the clues, Point Blank can be viewed as a straightforward revenge tale, a psychological study, or even something far more existential. That lingering uncertainty is exactly what makes it memorable and worthy of discussion decades later.
- Burnharm11 de abril de 2026Point Blank (1967) is one of those films that feels both intriguing and disorienting at the same time. At the beginning I almost felt like I was watching a sequel, but the more I went with it, the more it worked on its own terms. It is stylish, easy to watch, and very well made, especially if you just let the film take you where it wants to go.
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À Queima Roupafoi lançado em 31 de agosto de 1967.
À Queima Roupafoi dirigido por John Boorman.
À Queima Roupatem a duração de 1 h 32 min.
À Queima Roupafoi produzido por Robert Chartoff, Judd Bernard, Irwin Winkler.
Walker (Lee Marvin) é traído pelo amigo Mal Reese (John Vernon), que ele descobre também ser o amante de sua esposa, Lynne (Sharon Acker). Recuperado do baque e dos ferimentos, ele se infiltra numa organização criminosa para se vingar dos dois e recuperar seu dinheiro. Determinado a rir por último, ele usa a antiga cunhada, Chris (Angie Dickinson), como cúmplice.
Os caracteres-chave em À Queima Roupa são Walker (Lee Marvin), Chris (Angie Dickinson), Mal Reese (John Vernon).
À Queima Roupa é avaliado M/12.
À Queima Roupa é um filme de Crime, Drama, Thriller.
À Queima Roupa tem uma classificação de audiência 8.3de 10.
À Queima Roupa teve um orçamento de US$ 2,5 mi.
À Queima Roupa fez US$ 3,2 mi na bilheteria.