《步步驚魂》是典型的黑色電影，凌厲而簡潔的搶劫戲，夾雜著主角沃克的囈語，勾勒出主角沃克陰郁孤絕的狀態(tài)，通過如夢(mèng)般的閃回主角逃出了號(hào)稱最森嚴(yán)監(jiān)獄的阿爾卡特茲島，而通過最開始的具有夢(mèng)的色彩的回溯我們能夠感受到故事的混亂暴力程度和曖昧、失衡的氛圍，這些元素在那樣的敘事方式下被強(qiáng)化。再次歸來的沃克已是銀發(fā)蒼蒼，而背叛他的妻子也與同樣背叛他的友人里斯分開，緊接著向沃克懺悔過的妻子選擇了自殺，而沃克走到窗前時(shí)卻又聽見妻子的歌唱，再次打開門只是空蕩蕩的房間，遠(yuǎn)處再次傳來妻子的歌聲

正確翻譯：《單刀直入》
異常標(biāo)準(zhǔn)（以至于并不平庸而是優(yōu)秀[outstanding]）且令人愉悅的低俗小說，風(fēng)格絢麗[florid]——第一類是浴缸里液體的特寫、通過燈光進(jìn)行轉(zhuǎn)換的玻璃反射中內(nèi)/外的幻覺，第二類是中部大部分場景都伴有的（偶爾帶有英國式獵奇目光的）裝飾性背景聲部——但遠(yuǎn)不像羅伊格那樣擾亂觀看，算上剪輯風(fēng)格之后完全像一種經(jīng)過裝飾并且結(jié)點(diǎn)處節(jié)拍慢一點(diǎn)點(diǎn)的昆汀 · 塔倫蒂諾（后者顯然欠這部電影很多）。低俗之處很多并幾乎美妙，包括Lynne在房間里的偽現(xiàn)代主義獨(dú)白和完全莫名其妙的回憶

This excellent period piece carries the weight of its time very well: the political paranoid of the late 60s, the impersonal sinisterness of large corporation, and the general mood of exploitation and distrust in the air. Boorman is sophisticated enough a director to spice up the simple, noirish story with creative cutting and a wild soundtrack, which jogs our mind from time to time, leading us to suspect undetected depth in the movie. The search may be futile, but the attempt can be fun.
The movie was re-made in 1990s into a Mel Gibson vehicle, "Payback". While the movie is trash, it is nevertheless interesting to compare the huffy threat of Lee Marvin with the blatant madness of Gibson. Suffice it to say that each serves the movie they are cast in well, in their own way.

【步步驚魂】[Film Review] Point Blank (1967) 8.1/10
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