Posted 16 April 2011 - 09:53 AM
Posted 16 April 2011 - 07:47 PM
One major difference I remember is the way the Walker character's obsession with the money is portrayed. Gibson's character seems principled and at worst kind of quirky, where Marvin sometimes comes across as foolish and bull headed. In both films the other characters are baffled at Walker's demands to be payed the exact amount he feels he's owed but in Point Blank I remember a few moments where Walker seems like even he's not sure why it matters to him so much.
Edited by Backrow Baptist, 17 April 2011 - 11:21 AM.
Posted 17 April 2011 - 06:02 AM
I don't really like PAYBACK, but, admittedly, I haven't seen the Director's Cut, which I understand is a bit different, largely because it's darker. Not that darker = better, mind you. But I find POINT BLANK to be a much more interesting bit of storytelling. (Oh, and for the record, this graphic novel adaptation of THE HUNTER, the novel on which all of these films are based, is pretty neat, taking on a late 50s, early 60s black-and-white aesthetic; you can almost hear the jazzy score in the background as you read it.)
Posted 18 April 2011 - 05:43 PM
Posted 18 April 2011 - 07:54 PM
Posted 19 April 2011 - 07:37 AM
Yeah, the anachronisms in Payback didn't quite work for me either. There were the rotary phones, the clothing styles, comments about "President Nixon", etc. I liked the stylistic touch of the washed out, desaturated color scheme but ultimately even that didn't really add much on a storytelling level.
Posted 19 April 2011 - 10:03 AM
The most obvious comparisons for me would be Vanishing Point and also Soderbergh's The Limey. Both also had quite an impact on me at the time of watching. The Limey in particular steals from Point Blank but I personally didn't like it's use of editing to illustrate character motivation and memory. I preferred the coldness of Marvin's Point Blank's character, whereas Terence Stamp is made into a warm loving (if mostly absent) father through flashback. Nonetheless, I thought it was visually interesting. ANother Soderbergh film that lifts heavily is Out of Sight - the sex scene in particular - which makes better use of a similar editing style but here it is used more playfully, and it somehow makes the whole evening's flirtation meaningful without over-emphasising the moment of coitus which is really quite an achievement.
Nonetheless, Point Blank stands miles above any of these, IMHO.
Posted 19 April 2011 - 05:28 PM
Posted 22 April 2011 - 08:07 AM
Posted 22 April 2011 - 11:05 AM
Posted 20 March 2012 - 11:35 PM
Posted 21 March 2012 - 05:44 AM
I do want to see the little-discussed HELL IN THE PACIFIC.
Posted 21 March 2012 - 11:31 AM
Posted 21 March 2012 - 11:42 AM
Posted 21 March 2012 - 07:12 PM
You could put this on a double bill with the Dennis Quaid/Louis Gossette Jr. feature Enemy Mine.... or not....