A man obsessed with conspiracy theories becomes a target after one of his theories turns out to be true. Unfortunately, in order to save himself, he has to figure out which theory it is.
With personal crises and age weighing in on them, LAPD officers Riggs and Murtaugh must contend with a deadly Chinese crimelord trying to get his brother out of prison.
A veteran cop, Murtaugh, is partnered with a young suicidal cop, Riggs. Both having one thing in common; hating working in pairs. Now they must learn to work with one another to stop a gang of drug smugglers.
As homicide detective Thomas Craven investigates the death of his activist daughter, he uncovers not only her secret life, but a corporate cover-up and government collusion that attracts an agent tasked with cleaning up the evidence.
Porter is bad, but his neighbours are worse. Street-wise and tough, an ex-marine, he is betrayed by a one-time partner, and shot in the back by his junkie wife. He survives and returns, looking to recover his share from the robbery of an Asian crime gang. The money has passed into the hands of "the Outfit", a slick gangster organisation that runs the city. He has to make his way through a world populated by heroin dealers, prostitutes, sado-masochists, gunmen and crooked cops, a place where torture is a way of life. His only friend is a former employer, a prostitute, and her loyalty is in question, given she now works for the Outfit. He makes good early progress, but then falls into the hands of Fairfax, the crime boss. Written by
Kwah-LeBaire
Porter's first name is never revealed; even his wife and then subsequent girlfriend call him Porter. When asked about Porter's first name in the movie, Resnick pauses and then replies, "I don't know. He never called himself anything but Porter." See more »
Goofs
Porter enters Mr. Fairfax's office with his semi-automatic pistol aimed at Fairfax. But he incorrectly holds the gun tilted 90 degrees to the left. Such a hold does not allow proper sight alignment, and could also jam a semi-auto pistol during firing. Nobody familiar with basic pistol operation would grip one in this manner. See more »
Quotes
[first lines]
Porter:
[voiceover]
GSW: that's what the hospitals call it: gunshot wound. Doctor has to report it to the police. That makes it hard for guys in my line to get what I call, quality health care.
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Ain't That a Kick in the Head
Written by Jimmy Van Heusen and Sammy Cahn
Performed by Dean Martin
Courtesy of Capitol Records
under License from EMI Music Special Markets See more »
Yes - Payback & Point Blank (1967) are very similar. But there is a very good reason for that. Both films are based on the novel 'The Hunter' by Richard Stark, a pseudonym for Donald E Westlake.
The films share several character names such as Brewster, Carter, Stegman and Fairfax and similar plots. In both cases the anti-hero Porter (or Walker) is trying to recover a sum of money after being double-crossed.
Now, I am a huge fan of Point Blank. It takes a relatively simple plot and makes a bit of cinematic poetry out of it. And if I was forced to compare Lee Marvin and Mel Gibson's performances, then I'm sorry but Gibson would lose big time. However, Payback is a much better film than I thought it would be. There are sufficient differences to make the story interesting and though it is told in a much more straightforward and, dare I say, 'safe' way than Point Blank, it is a very well made film and tells a compelling story well. And it's nice to see Gibson return to a somewhat morally ambiguous character a la Mad Max.
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Yes - Payback & Point Blank (1967) are very similar. But there is a very good reason for that. Both films are based on the novel 'The Hunter' by Richard Stark, a pseudonym for Donald E Westlake.
The films share several character names such as Brewster, Carter, Stegman and Fairfax and similar plots. In both cases the anti-hero Porter (or Walker) is trying to recover a sum of money after being double-crossed.
Now, I am a huge fan of Point Blank. It takes a relatively simple plot and makes a bit of cinematic poetry out of it. And if I was forced to compare Lee Marvin and Mel Gibson's performances, then I'm sorry but Gibson would lose big time. However, Payback is a much better film than I thought it would be. There are sufficient differences to make the story interesting and though it is told in a much more straightforward and, dare I say, 'safe' way than Point Blank, it is a very well made film and tells a compelling story well. And it's nice to see Gibson return to a somewhat morally ambiguous character a la Mad Max.