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Point of No Return 1993 123movies

Point of No Return 1993 123movies

The Government gave her a choice. Death. Or life as an assassin. Now, there's no turning back108 Min.
Your rating: 0
8 1 vote

Summary:

#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Drug addict Maggie Hayward’s consistent violence, even in police custody, ends in the execution chamber. However, top-secret US government agent ‘Bob’ arranges a staged death, so Maggie can be elaborately trained as a killer. She gets a new cover identity as saleswoman Claudia Anne Doran. She also finds a house-mate, building super J.P., a broad-minded, gentle photographer. The two fall in love, and that complicates her government assignments. His influence extends to breeding in her a conscience that supplants her violent tendencies and desire to continue work for the agency.
Plot: Hardened criminal Maggie Hayward’s consistent violence, even in police custody, ends in the execution chamber. However, top-secret US government agent ‘Bob’ arranges a staged death, so Maggie can be elaborately trained as a phantom killer and subdued into obedience.
Smart Tags: #remake_of_french_film #female_assassin #hitwoman #pantyhose #woman_murders_a_man #woman_murders_a_woman #shooting_a_woman #murderess #watching_television #female_removes_her_clothes #f_rated #1990s #canuxploitation #love_interest #back_massage #photographer #training #staged_death #injection #lethal_injection #assassin


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Ratings:

Point of No Return 1993 123movies 1 Point of No Return 1993 123movies 26.1/10 Votes: 25,139
Point of No Return 1993 123movies 3 Point of No Return 1993 123movies 252%
Point of No Return 1993 123movies 5 Point of No Return 1993 123movies 253/100
Point of No Return 1993 123movies 7 Point of No Return 1993 123movies 26 Votes: 380 Popularity: 9.988

Reviews:

New Dawn – New Day – New Life.

Point of No Return (AKA: The Assassin) is directed by John Badham and written by Robert Getchell and Alexander Seros. It stars Bridget Fonda, Gabriel Byrne, Dermot Mulroney, Anne Bancroft and Harvey Keitel. Music is by Hans Zimmer and cinematography (Panavision/Technicolor) by Michael Ferris and Michael Watkins.

When drug addict Maggie Hayward (Fonda) kills a policeman in cold blood, she is promptly sentenced to death by lethal injection. But maybe there is an out? A chance to work for the government?

Why so serious?

A remake of Luc Besson’s Nikita, this was always going to suffer the usual remake taunts of why bother? Was it necessary etc? Point of No Return is a good honest action movie, it has style to burn, nifty photography and likable leading actors. The action is well staged and thrilling – and Hong Kongish in style, and bubbling away in the writing are themes of identity, absent parents and a delicately off-kilter oedipal angle. The Nina Simone soundtrack is terrific, while Zimmer works around Nina’s songs with an aural assuredness that grabs the attention.

It doesn’t push any boundaries, and although it has been noted in some neo-noir circles, it is only a borderline entry in that style of film making. But if kinetic is a good word for you, and ultra violence gives you a shot in the arm, then Bridget and her guns are definitely worth a first date at least. 6/10

Review By: John Chard Rating: 6 Date: 2015-08-26
Don’t waste your precious time. Watch the [original](https://www.themoviedb.org/movie/9322-nikita) directed by Luc Besson.

I couldn’t really enjoy this 1993 remake, knowing the so much better original from 1990.

Review By: tmdb872652 Rating: 2 Date: 2013-01-20
Loses Little in Translation
“Point of No Return”, or “The Assassin” as it is known here in Britain, is, of course, a remake of Luc Besson’s French thriller “Nikita”, and keeps closely to the plot of the original, although the action is transferred from France to America. Some of the names, such as Victor or Amande/Amanda, are the same as, or very close to, those used in the original film, although the name of the main character is changed from Nikita to Maggie. (Besson had, for reasons best known to himself, given his heroine a masculine Russian Christian name).

Like Nikita, Maggie is a criminal and drug addict who murders a policeman during a raid on a pharmacy, a crime for which she is sentenced to death. The sentence is, apparently, carried out soon after the trial, but in reality Maggie’s life is spared. (The film-makers ignore the fact that in America any death sentence is automatically subject to a lengthy series of appeals and reviews; in California, where the film is set, only thirteen people, out of nearly seven hundred sentenced to death, have been executed during the last thirty years). She is given the option of being trained to work for the Government as a professional assassin; if she refuses she will be killed and buried beneath the tombstone which already bears her name.

Roger Ebert compares Maggie to a modern-day Eliza Dolittle, the heroine of Shaw’s “Pygmalion”. This may seem an odd comparison, given the nature of the work Maggie is being trained to do, but it is in fact an apt one. The modern assassin must master not only martial arts, weapons skills and computer technology but also such matters as deportment, polite conversation, fine dining and the art of looking beautiful. The rationale is presumably that, as Maggie may be called upon to kill members of America’s high society, she needs to know how to behave in their company. The tuition she receives is obviously effective; Maggie enters her charm school with the social graces of an alley-cat and leaves with those of a débutante. For all her poise and glamour, however, she also has the skills of a ruthless killer.

The Government resettle Maggie in Venice Beach where she poses, under an assumed name, as an IT consultant and finds a boyfriend. Occasionally, however, she is called upon to take out a target whom the Government want dead, either by delivering a bomb to their hotel room or shooting them dead in the street. At first she is happy to go along with their instructions, but begins to develop a conscience about what she is doing, and wants to leave her job.

The idea of remaking a modern foreign-language film in English and with an American setting was anathema to many purists, particularly to those (on both sides of the Atlantic) who see Europe as the home of High Culture and America as a land of vulgar Philistines who are too lazy to bother with reading subtitles. This, however, was a view which I found unfair, as “Nikita” did not lose much, if anything, in translation when it was remade. Contrary to what some might think, not every French or European film is an art-house classic; Besson’s was a commercial thriller which was itself influenced by American models, especially neo-noir. Film noir, as the name might suggest, has always been appreciated in the French cinema; the influence of Besson’s model on John Badham’s film might be seen as France’s repayment of its debt to America.

Moreover, “The Assassin” has many virtues in its own right. It makes effective use of music; there is a memorable score from Hans Zimmer, possibly influenced by David Hentschel’s music for “Educating Rita”. The soundtrack also features several songs by Nina Simone, a particular passion of Maggie’s. (This seemed a rather conservative taste for a young woman of her generation, but the explanation is that Maggie’s enthusiasm derives from her mother).

Bridget Fonda (who has clearly inherited the classic good looks of her Auntie Jane) is very good as the heroine, both as the anti-social rebel of the early scenes and the sophisticated, seductive young lady of the later ones. There are effective cameos from Anne Bancroft as Amanda, Maggie’s tutor in the social arts, and from Harvey Keitel as Victor the Cleaner, the ruthless, deadpan killer called in to “clean up” when one of her jobs unexpectedly goes wrong. There is a larger contribution from Gabriel Byrne as Maggie’s handler, Bob, a key role as the relationship between the two is a complicated one. At first Bob is only able to handle her by making veiled (and sometimes open) threats about what will happen if she does not co-operate, but later he grows close to her, almost like a substitute father. (She passes him off to her boyfriend as her uncle). He is sympathetic to her desire to leave her job, but his hands are tied by the attitude of his superiors.

As a thriller, “The Assassin” is a fast-paced and exciting one, but it may also have a deeper significance as a critique of the death penalty. Maggie’s development parallels that of Burt Lancaster’s character Robert Stroud in “The Birdman of Alcatraz”, who also starts off as a vicious, conscienceless killer and gradually grows in humanity There is an obvious irony in the fact that she is sentenced to death for murder and that her life is then spared so that she may commit further murders on behalf of the State that has sentenced her. The further irony is that it is her career as an assassin which teaches her the value of human life. 7/10

Review By: JamesHitchcock Rating: 7 Date: 2007-12-14
Loses Little in Translation
“Point of No Return”, or “The Assassin” as it is known here in Britain, is, of course, a remake of Luc Besson’s French thriller “Nikita”, and keeps closely to the plot of the original, although the action is transferred from France to America. Some of the names, such as Victor or Amande/Amanda, are the same as, or very close to, those used in the original film, although the name of the main character is changed from Nikita to Maggie. (Besson had, for reasons best known to himself, given his heroine a masculine Russian Christian name).

Like Nikita, Maggie is a criminal and drug addict who murders a policeman during a raid on a pharmacy, a crime for which she is sentenced to death. The sentence is, apparently, carried out soon after the trial, but in reality Maggie’s life is spared. (The film-makers ignore the fact that in America any death sentence is automatically subject to a lengthy series of appeals and reviews; in California, where the film is set, only thirteen people, out of nearly seven hundred sentenced to death, have been executed during the last thirty years). She is given the option of being trained to work for the Government as a professional assassin; if she refuses she will be killed and buried beneath the tombstone which already bears her name.

Roger Ebert compares Maggie to a modern-day Eliza Dolittle, the heroine of Shaw’s “Pygmalion”. This may seem an odd comparison, given the nature of the work Maggie is being trained to do, but it is in fact an apt one. The modern assassin must master not only martial arts, weapons skills and computer technology but also such matters as deportment, polite conversation, fine dining and the art of looking beautiful. The rationale is presumably that, as Maggie may be called upon to kill members of America’s high society, she needs to know how to behave in their company. The tuition she receives is obviously effective; Maggie enters her charm school with the social graces of an alley-cat and leaves with those of a débutante. For all her poise and glamour, however, she also has the skills of a ruthless killer.

The Government resettle Maggie in Venice Beach where she poses, under an assumed name, as an IT consultant and finds a boyfriend. Occasionally, however, she is called upon to take out a target whom the Government want dead, either by delivering a bomb to their hotel room or shooting them dead in the street. At first she is happy to go along with their instructions, but begins to develop a conscience about what she is doing, and wants to leave her job.

The idea of remaking a modern foreign-language film in English and with an American setting was anathema to many purists, particularly to those (on both sides of the Atlantic) who see Europe as the home of High Culture and America as a land of vulgar Philistines who are too lazy to bother with reading subtitles. This, however, was a view which I found unfair, as “Nikita” did not lose much, if anything, in translation when it was remade. Contrary to what some might think, not every French or European film is an art-house classic; Besson’s was a commercial thriller which was itself influenced by American models, especially neo-noir. Film noir, as the name might suggest, has always been appreciated in the French cinema; the influence of Besson’s model on John Badham’s film might be seen as France’s repayment of its debt to America.

Moreover, “The Assassin” has many virtues in its own right. It makes effective use of music; there is a memorable score from Hans Zimmer, possibly influenced by David Hentschel’s music for “Educating Rita”. The soundtrack also features several songs by Nina Simone, a particular passion of Maggie’s. (This seemed a rather conservative taste for a young woman of her generation, but the explanation is that Maggie’s enthusiasm derives from her mother).

Bridget Fonda (who has clearly inherited the classic good looks of her Auntie Jane) is very good as the heroine, both as the anti-social rebel of the early scenes and the sophisticated, seductive young lady of the later ones. There are effective cameos from Anne Bancroft as Amanda, Maggie’s tutor in the social arts, and from Harvey Keitel as Victor the Cleaner, the ruthless, deadpan killer called in to “clean up” when one of her jobs unexpectedly goes wrong. There is a larger contribution from Gabriel Byrne as Maggie’s handler, Bob, a key role as the relationship between the two is a complicated one. At first Bob is only able to handle her by making veiled (and sometimes open) threats about what will happen if she does not co-operate, but later he grows close to her, almost like a substitute father. (She passes him off to her boyfriend as her uncle). He is sympathetic to her desire to leave her job, but his hands are tied by the attitude of his superiors.

As a thriller, “The Assassin” is a fast-paced and exciting one, but it may also have a deeper significance as a critique of the death penalty. Maggie’s development parallels that of Burt Lancaster’s character Robert Stroud in “The Birdman of Alcatraz”, who also starts off as a vicious, conscienceless killer and gradually grows in humanity There is an obvious irony in the fact that she is sentenced to death for murder and that her life is then spared so that she may commit further murders on behalf of the State that has sentenced her. The further irony is that it is her career as an assassin which teaches her the value of human life. 7/10

Review By: JamesHitchcock Rating: 7 Date: 2007-12-14

Other Information:

Original Title Point of No Return
Release Date 1993-03-19
Release Year 1993

Original Language en
Runtime 1 hr 49 min (109 min), 1 hr 44 min (104 min) (TV) (Germany), 1 hr 41 min (101 min) (TV) (Turkey)
Budget 0
Revenue 30038362
Status Released
Rated R
Genre Action, Crime, Drama, Thriller
Director John Badham
Writer Luc Besson (film La Femme Nikita), Robert Getchell (screenplay), Alexandra Seros (screenplay)
Actors Bridget Fonda, Gabriel Byrne, Dermot Mulroney, Miguel Ferrer
Country USA
Awards N/A
Production Company Art Linson Productions, Warner Bros.
Website N/A


Technical Information:

Sound Mix Dolby SR
Aspect Ratio 2.35 : 1
Camera Panavision Cameras and Lenses
Laboratory Technicolor, Hollywood (CA), USA
Film Length N/A
Negative Format 35 mm (Eastman EXR 500T 5296)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm

Point of No Return 1993 123movies
Point of No Return 1993 123movies
Original title Point of No Return
TMDb Rating 6 380 votes

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