Most critics respond warmly to Point Blank, with praise clustering around Boorman’s unconventional visual style and fractured storytelling. The reviews repeatedly describe a disorienting, dreamlike crime film whose menace comes as much from disrupted memory and narrative as from its revenge plot. The Guardian singles out the way past violence haunts the story’s forward movement, while Empire and Film Comment emphasise Lee Marvin’s performance as an anchor for the film’s strangeness.
The differences are chiefly matters of emphasis and enthusiasm: some reviews celebrate the visual experimentation, while others concentrate on the force of the crime story or its elusive quality. There is little documented disagreement about particular weaknesses, and the available assessments range from measured approval to strong praise. The lowest-scored entry has no accessible review text, so it cannot support a specific reservation or establish a clear dissenting position.