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The Brattle film calendar wonders how John Boorman could make a movie as good as Point Blank and then go on to make something as lousy as Zardoz. But come on: Boorman is all about the semi-surreal fractured narrative, and you can draw a clear line from one movie to the other. Point Blank is a ruthless reinvention of the crime movie. The skeleton is pure pulp, adapted from a Donald Westlake book. Westlake has been writing unpretentious genre books for decades, so it’s a good base. But you’re not more than 10 minutes into the movie before the chronology starts shattering and lines start repeating and overlapping and you have to start wondering if it’s a sequence of events or Lee Marvin’s deathbed dream. Trippy stuff. Now I know where Soderbergh picked up the techniques he used in The Limey and Out of Sight. ...