SKU: 65415349439

KW Gewindefahrwerk INOX V3 passend für Golf VII Variant / Leon ST 5F mit DDC

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Description

KW Gewindefahrwerk INOX V3 passend für Golf VII Variant / Leon ST 5F mit DDCKW V3 INOX Bitte entsprechende Achslast auswhlen! Fr Fahrzeuge mit: Klemmdurchmesser 50mm Verbundlenker Starrachse mit elektrischer Dmpferregelung Tieferlegung VA HA (mm) 35 65 40 65 Unbegrenzte Individualitt fr Performance & Komfort. Dmpferkraftverstellung separat fr die Zug & Druckstufe. Wie bei jedem KW Gewindefahrwerk entwickeln unsere Fahrwerkingenieure auch fr die fahrzeugspezifischen Anwendungen des KW V3 eine sportlich harmonische

KW V3 INOX

- Bitte entsprechende Achslast auswählen!

Für Fahrzeuge mit:

-Klemmdurchmesser Ø50mm

-Verbundlenker/Starrachse

-mit elektrischer Dämpferregelung

-Tieferlegung VA / HA (mm)     35-65 / 40-65

 

Unbegrenzte Individualität für Performance & Komfort. Dämpferkraftverstellung separat für die Zug- & Druckstufe.
Wie bei jedem KW Gewindefahrwerk entwickeln unsere Fahrwerkingenieure auch für die fahrzeugspezifischen Anwendungen des KW V3 eine sportlich-harmonische Grundabstimmung. Neben Tests auf unserem KW 7-post Fahrdynamikprüfstand absolvieren wir dazu ausgiebige Messfahrten auf Landstraßen, der Autobahn und selbst auf der Nürburgring Nordschleife Testkilometer für Testkilometer, um Ihnen die perfekte Fahrwerkabstimmung zu garantieren. Seit Jahren ist das weltweit zu den Top-Aftermarketprodukten zählende KW V3 die Referenz für Gewindefahrwerke. Mit seiner Dämpfercharakteristik, der hochwertigen Verarbeitung und der ausgezeichneten Langlebigkeit überzeugt es anspruchsvolle Sportwagenfahrer, Tuner, Groß- und Kleinserienhersteller wie Alpina, MTM, Manthey, Oettinger und viele weitere namhafte Unternehmen in der internationalen Automobilbranche.

Spitzentechnologie aus dem Motorsport
Viel mehr als eine sportliche Tieferlegung und ein ausgezeichnetes Fahrverhalten auf allen Straßen erhalten Sie mit dem KW V3. Es basiert auf unser langjährigen Erfahrung als Fahrwerkhersteller und Ausrüster im internationalen Motorsport wie etwa in den Tourenwagenserien ADAC GT Masters, FIA GT1, FIA GT3, International GT Open, WTC, VLN und auch beim legendären ADAC Zurich 24h-Rennen Nürburgring.
Ähnlich wie bei unseren Rennsport-Gewindefahrwerken aus dem KW Competition-Programm kann beim KW V3 die Zugstufe und die Druckstufe unabhängig voneinander eingestellt werden. Diese individuelle Abstimmungsmöglichkeit wird von Veredlern, Sportwagenmanufakturen, Tunern und anspruchsvollen Fahrern weltweit geschätzt.

Das perfekte Fahrwerksetup für deutlich mehr Fahrdynamik
Haben Sie an Ihrem sportlichen Straßenfahrzeug bereits erste Performance-Modifikationen durchgeführt, ist es ein Leichtes mit dem KW V3 diese zielgerichtet in der Dämpferabstimmung zu berücksichtigen. Die patentierte KW Ventiltechnik für die getrennte Abstimmung der Zug- und Druckstufe erlaubt es Ihnen die fahrzeugspezifische Grundabstimmung von KW individuell anzupassen. Beispielsweise gibt Ihnen das im Lowspeed-Bereich der Druckstufe in zwölf Klicks einstellbare KW-Bodenventil den Spielraum, selbst die Reifencharakteristik Ihrer High- und Ultra-High-Performance-Straßenreifen bei der Fahrwerkabstimmung zu berücksichtigen.
Durch die patentierte Druckstufeneinstellung am unteren Kolbenende des Edelstahlgehäuses benötigten Sie dazu nicht einmal Werkzeug. Die einstellbare Druckstufenabstimmung mit ihren zwölf exakten Klicks erlaubt es Ihnen per Hand auf Karosserieroll- und Wankbewegungen Einfluss zu nehmen, ohne dabei die optimal zur Federrate passende Zugstufendämpfung verändern zu müssen.
Mit der individuell einstellbaren Zugstufenabstimmung des KW V3 können Sie direkt das Handling und den Komfort durch die exakte Klickverstellung beeinflussen. Je nach Fahrzeugtyp werden die Zugstufenventile der KW Zweirohrdämpfer am oberen Ende der Kolbenstange über ein integriertes Einstellrädchen oder dem im Lieferumfang beinhalteten Aufsteck-Einstellrädchen abgestimmt.
Indem Sie über das Einstellrädchen die Zugkraft erhöhen, verringern sich die Aufbaubewegungen an der Karosserie. Ihr Auto fährt sich dadurch spurtreuer und Sie haben bei erhöhten Kurvengeschwindigkeiten noch mehr Stabilität. Wechseln Sie beispielsweise von den freigegebenen Rad/Reifenkombinationen Ihres Automobilherstellers zu größeren Felgen, können Sie mit dem KW V3 das Fahrverhalten Ihres Autos und Ihrer neuen Leichtmetallräder perfekt aufeinander abstimmen.

Hochwertig, individuell und langlebig
Schon während der Produktion wird das KW V3 ausgiebigen Qualitätstests unterzogen und jeder einzelne Dämpfer überprüft. Nur so werden wir unserem Anspruch gerecht, beim Einbau eines KW Gewindefahrwerks V3 durch einen KW Fachhandelspartner eine Garantie von bis zu fünf Jahren zu gewährleisten. Durch die filigrane Verarbeitung und der Nutzung hochwertiger Komponenten sind beispielsweise die KW Gewindefederbeine aus Edelstahl zu 100 Prozent rostfrei und besitzen eine unbegrenzte Lebensdauer.
Dadurch ist die Funktionsweise der stufenlosen Tieferlegung über das schmutzunempfindliche KW Trapezgewinde und den KW Polyamid-Gewindering auch nach Jahren nicht beeinträchtigt. Durch die individuelle Tieferlegung mit ihrem stufenlosen Verstellbereich können Sie die Sportlichkeit Ihres Fahrzeugs auch optisch betonen. Ein Feature, das in der Performanceorientierten Tuningszene sehr beliebt ist.

- in Zug- und Druckdämpfung frei einstellbare Dämpfungstechnik
- Edelstahltechnik inox-line
- individuelle, stufenlose Tieferlegung
- geprüfter Verstellbereich
- hochwertige Bauteile für lange Lebensdauer
- einstellbare Zugstufendämpfung mit 16 exakten Klicks
- 12-fach einstellbare Druckstufendämpfung mit Klickverstellung
- einzigartige, unabhängig voneinander wirkende Dämpfungskraftverstellung

Setup: Die individuell einstellbare Zug- & Druckstufendämpfung der KW V3
Das KW V3 ist das ideale Zubehör für Performance-orientierte Autofahrer und Tuningenthusiasten, die bei ihren Fahrzeugen einen großen Anspruch auf Sportlichkeit legen. Die separat in Zug- und Druckstufe einstellbaren Dämpfer erlauben dabei, mit ihrer durchdachten Klickverstellung eine umfangreiche Dämpferabstimmung vorzunehmen. So ist es ein Leichtes das Einlenkverhalten, die Spurtreue, den Reifengrip und Handling-Eigenschaften maßgeblich für eine sichere Kontrollierbarkeit im Grenzbereich direkt zu beeinflussen.


Elektronische Dämpferregelung muss stillgelegt werden. Elektroniksatz zur Stillegung ist im Lieferumfang enthalten.

Technische Informationen:

- Marke : KW
- Artikelnummer :  35281047 / 35281048
- Edelstahltechnik inox-line
- 12-fach einstellbare Druckstufendämpfung
- 16-fach einstellbare Zugstufendämpfung
- Individuelle, stufenlose Tieferlegung 
- Lieferumfang Set VA + HA Gewindefederbeine , DDC-Stilllegungssatz
- Achslast VA/HA (kg) bitte oben Auswählen / -1050
- hochwertige Bauteile für lange Lebensdauer
- Zulassung : Teilegutachten (§19.3)

 

Hinweis: Die Abbildung kann vom gelieferten Produkt abweichen


Achslast VA -965kg:

SEAT LEON ST (5F8) 09/2012- 1.0 TSi Kombi Benzin 63 KW 999 ccm 3 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.0 TSI Kombi Benzin 85 KW 999 ccm 3 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.2 TSI Kombi Benzin 63 KW 1197 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.2 TSI Kombi Benzin 77 KW 1197 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.2 TSI Kombi Benzin 81 KW 1197 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.4 TSI Kombi Benzin 90 KW 1395 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.4 TSI Kombi Benzin 92 KW 1395 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.4 TSI Kombi Benzin 103 KW 1395 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.4 TSI Kombi Benzin 110 KW 1395 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.5 TSI Kombi Benzin 96 KW 1495 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.5 TSI Kombi Benzin 110 KW 1495 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.6 TDI Kombi Diesel 66 KW 1598 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.6 TDI Kombi Diesel 81 KW 1598 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.6 TDI Kombi Diesel 85 KW 1598 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.8 TSI Kombi Benzin 132 KW 1798 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 2.0 TDI Kombi Diesel 105 KW 1968 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 2.0 TSI Kombi Benzin 140 KW 1984 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.0 TSI Kombi Benzin 63 KW 999 ccm 3 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.0 TSI Kombi Benzin 81 KW 999 ccm 3 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.0 TSI Kombi Benzin 85 KW 999 ccm 3 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.2 TSI Kombi Benzin 63 KW 1197 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.2 TSI Kombi Benzin 77 KW 1197 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.2 TSI Kombi Benzin 81 KW 1197 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.4 TSI Kombi Benzin 90 KW 1395 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.4 TSI Kombi Benzin 92 KW 1395 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.4 TSI Kombi Benzin 103 KW 1395 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.4 TSI Kombi Benzin 110 KW 1395 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.5 TSI Kombi Benzin 96 KW 1495 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.5 TSI Kombi Benzin 110 KW 1498 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.6 Kombi Benzin 81 KW 1598 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.8 TSI Kombi Benzin 125 KW 1798 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 2.0 GTD Kombi Diesel 130 KW 1968 ccm 4 Frontantrieb

Achslast VA 966kg-1090kg:

SEAT LEON ST (5F8) 09/2012- 1.0 TSi Kombi Benzin 63 KW 999 ccm 3 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.5 TSI Kombi Benzin 96 KW 1495 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.5 TSI Kombi Benzin 110 KW 1495 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.6 TDI Kombi Diesel 66 KW 1598 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.6 TDI Kombi Diesel 77 KW 1598 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.6 TDI Kombi Diesel 81 KW 1598 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.6 TDI Kombi Diesel 85 KW 1598 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 1.8 TSI Kombi Benzin 132 KW 1798 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 2.0 TDI Kombi Diesel 81 KW 1968 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 2.0 TDI Kombi Diesel 105 KW 1968 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 2.0 TDI Kombi Diesel 110 KW 1968 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 2.0 TDI Kombi Diesel 135 KW 1968 ccm 4 Frontantrieb
SEAT LEON ST (5F8) 09/2012- 2.0 TSI Kombi Benzin 140 KW 1984 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.6 Kombi Benzin 81 KW 1598 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.6 TDI Kombi Diesel 66 KW 1598 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.6 TDI Kombi Diesel 77 KW 1598 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.6 TDI Kombi Diesel 81 KW 1598 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.6 TDI Kombi Diesel 85 KW 1598 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 1.8 TSI Kombi Benzin 125 KW 1798 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 2.0 GTD Kombi Diesel 130 KW 1968 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 2.0 GTD Kombi Diesel 135 KW 1968 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 2.0 TDI Kombi Diesel 81 KW 1968 ccm 4 Frontantrieb
VW GOLF VII Variant (AUV, BA5, BV5) 04/2013- 2.0 TDI Kombi Diesel 110 KW 1968 ccm 4 Frontantrieb

 

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dra
Charlottesville, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 3, 2014
J
Verified Purchase
J. H. Haley
Port Orchard, US
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 25, 2007
M
Verified Purchase
mojo_navigator
Grantham, US
★★★★★ 5
Excellent Blu-Ray Transfer - Big Improvement to the DVD
I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 26, 2014
K
Verified Purchase
KEITH
San Leandro, US
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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Reviewed in the United States on July 17, 2025
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Parker
Draper, US
★★★★★ 3
Dated, but....
Compared to the novel on which it is based, this movie is a complete letdown, so fans of the Parker series of novels who are drawn to this book may want to think twice about watching the film if they are looking for a faithful adaptation of the first Parker novel. That being said, it was not the intention of the director John Boorman to adapt Richard Stark's excellent novel, "the Hunter" to film, but rather to create an entirely new piece of fiction from the skeleton of the original story, so one most try to judge the movie on its own merits, which is difficult to do. As in other reviews, I must commend the directing. The style of the film is way ahead of it's time, with stark visuals, stylized fight scenes, and prolonged moments of silence. I love the long Walk lee Marvin takes thru the a multi-colored corridor where his footsteps drown out all other sound. Marvin's performance is also very strong, and he shows himself to have been an actor who took chances with his image and, in this case, used his clout to make a movie which otherwise would not have been so memorable. In the end, one must ask the question "Why?" Why not faithfully adapt "The Hunter" into film? It certainly would not have stifled the film's creativity, and nothing in the movie's script was any better than what was in the book. There is also the annoying occurrence of changing the protagonists' name from Parker to something else; in this case, Walker. This trend continued in another six film adaptations of the Parker novels, the last of which was 1999's Payback, starring Mel Gibson as Porter.
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Reviewed in the United States on July 1, 2011

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