Lee Marvin stars as the lethal Walker in director John Boorman's stunningly stylized daylight noir, POINT BLANK. Mal Reese (John Vernon), Walker's partner in crime, shoots him and leaves him for dead on desolate Alcatraz Island just after they've pulled off a huge heist. For good measure, Reese also makes off with Walker's perfidious wife, Lynne (Sharon Acker). A couple of years later, while touring Alcatraz, Walker is approached by a man named Yost (Keenan Wynn) who offers to help him get his cut of the take by leading him to Reese and Lynne in exchange for information about the mysterious organization that now includes the thief's ex-partner. Walker agrees. He first runs down Lynne in L.A. and says hello by burying a few rounds in her bed but leaves her unharmed. Long ago abandoned by Reese, she's disintegrating emotionally and attempts to babble an explanation of her actions to the indifferent Walker. With the help of Lynne's sister, Chris (Angie Dickinson), Walker gains access to Reese's seemingly impregnable penthouse apartment, and the former partners' reunion is less than blissful. One of the best thrillers of the 1960s, the film's deadpan amorality and fragmented Resnais-influenced narrative, echoed in the startling camera angles and obliquely gorgeous anamorphic compositions of high-testosterone specialist Philip Lathrop (THE CINCINNATI KID), make clear why POINT BLANK has slowly become one of the most influential noirs.