Targets ★★★

Small warning, literally every single synopsis for this film just sums up the final five minutes. If you jump, jump in blind, trust no one.

Hard to see the man responsible for The Last Picture Show here, which is always an interesting revelation, to sample a filmmakers roots and find them incomprehensibly differing to the ones you had expected. Bogdanovich relentlessly etches tenacity and new wave edge together into a medley of incredibly watchable potent filmmaking, the studios had a rule before '67, not unwritten or secretive, to never give an angry artist—or any artist—free reign, and certainly not on your dime. There was a brief time after when this rule laxed and the results were bountiful, Targets would pave many a way for those times. With me, Targets is certainly not a BULLSEYE, but it's unquestionably an intriguing one. Extra points for being a debut film of such prescient and stimulating magnitude. Everyone was a one-shot kill back in the good old days, but if you come at the Karloff, you best not miss. We may be through with the past, but the past ain't through with us. Nice to see the commentary on how easy it is for an American to arm himself and just start shooting hasn't changed one bit in 45 years. When the bullets have rang their final echoes and the sirens span for the last time that night, when all is all and done is done, the silence is the only answer, in an emptied out drive-in movie theatre.