Point blank kills cold war12/16/2023 ![]() ![]() This weapon is great for those that like to hurl rounds at the opponent at distance, but that’s about it. The damage per round is noticeably weaker than everything in its class. The M13 is one of the best weapons for its rate of fire, but it isn’t as strong as one might think. The M13 unlocks later in the ranks and is one of the more disappointing later weapons unlocks. Fabulous, groundbreaking cinema.The M13 doesn’t pack the punch you would expect and falls down the tier list (Image via GFinity) Point Blank contains inspiring visuals, a haunting soundtrack and some stunning acting. No love left in him, only a need for payment. Always seeking answers, never providing them. ![]() "What's my first name?" he deadpans, answering a question with another question. Is he an avenging angel? Is he there at all? "Hey, what's my last name?" asks a post-coital Chris. ![]() They finally make love, only for the isolation, the loss of identity, to continue. She keeps on punching until she finally collapses on the floor in a heap. He remains impregnable, emotionally void. In a remarkable scene she resorts to repeatedly slamming Walker's immovable slab of a chest. Even Angie Dickinson, playing Lynne's sister Chris, leaves him cold. De Niro's ex-con in Jackie Brown is based on Marvin's Walker, as are countless other performances. Tarantino has since appropriated this organisation theme on a small-time level, plagarising the black suits and the unwavering professionalism of the violence. Boorman's seminal film preceded the spate of fabulous paranoia flicks that enriched 70s American cinema The Conversation, The Parallax View, All The President's Men where a shadowy "Organisation" pulls the nation's strings. Only Clint Eastwood never conveyed this much emotion in his movements. Walker barely takes it in, all that motivates him is the thought, "Somebody's gotta to pay." While others flounder, Marvin appears impenetrable like one of Sergio Leone's cowboys. When he catches up with his cheating ex-wife he allows her to talk uninterrupted in a desperate, forlorn monotone - "He's gone. His dialogue is minimal, his obsession is reflected through his curt questions, his sudden movements, his eyes and the flashbacks that haunt him. The creepy Yost knows where Mal and his Walker ex-wife Lynne (Sharon Acker) are and is willing to reveal this to him, just as long as he receives some information on a shadowy body called "The Organisation". A year or two later Walker is on a tourist boat trip to Alcatraz, being propositioned by Yost. We're only privy to these flash snippets of information, but they're still enough to help us empathise with Marvin's masterly obsessive. We're bombarded by a montage of piercingly violent images blended together with fragments of a failed heist on Alcatraz Island and a pair of slugs ripping into Walker's body. Boorman greets us with a five-minute sequence that is crammed with curious camera angles, fractured time-lines and carefully constructed compositions. A tad upset he decides to resurrects himself, with the help of the shadowy Yost (Keenan Wynn) for revenge and his payment. Steely, panther-like hitman Walker (marvellous Marvin) has been fitted up, shot at and had $93,0000 stolen from him all because of ex-pal Mal Reese (John Vernon). Unrelentingly downbeat, this stylish crime thriller made in 1967 seems to have fuelled virtually Elmore Leonard novel. In the wake of his Cannes Best Director award for The General, Boorman's stunning debut has been released with a new print. ![]()
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