Payback (1999)

Based on the Richard Start novel "The Hunter," which was earlier filmed by John Boorman in the classic Lee Marvin picture "Point Blank," brings the story into the modern era with Mel Gibson in the lead. Gibson plays a crook who's double crossed by his partner and wife, and left for dead. However, Gibson is not dead and works his way up the "Syndicate" ladder to get back his money, as well as revenge upon those who crossed him. Although the story takes place in a contemporary setting, the film is wonderfully retro, featuring timeless business suits, old 70s looking cars, and more anachronistic rotary phones than you can shake a stick at. The story is a pretty straightforward revenge tale, but it's filled with so many colorful moments that it's pieces add up to a greater whole. One of my favorite moments is (SPOILER ALERT!) Gibson finding his ex-wife dead in bed and lying down next to her to recall the events leading up to his double-cross in a dreamlike flashback sequence, which manages to be both surreal and melancholy. The film is also filled with clever bits of action, such as when Gibson purposefully crashes a car head on during a heist, including a nice touch of close-up of a mouthguard hitting the ground as he get's out of the car to denote Gibson's premeditation of the crash. There's also a memorable toe smashing torture sequence that's not all that graphic, but effectively unsettling. "Payback" also has some great supporting performances by Maria Bello, David Paymer, Bill Duke, Deborah Kara Unger, John Glover, William Devane, Kris Kristofferson, and James Coburn. I was particularly taken with the underused Gregg Henry as Gibson's friend who double crosses him on a caper and steals his wife, setting off the events of the film. Lucy Liu (billed at Lucy Alexis Liu) is also quite memorable as a dominatrix/torturer friend/mistress of Henry's."Payback" came out at the peak of 1990s Quentin Tarantino ripoffs, but to lump this film in with that batch of imitators does not do it justice. "Payback" is a closer cousin to Don Siegel style of crime films (i.e. "The Killers" or "Charley Varrick") than to Tarantino. It's minus the pop culture references and has it's own unique dark sense of humor. The film is shot with a color palette of black and blues that make it nicely reminiscent of the black and white film noirs that it's referencing. And to be clear, this is the original theatrical version of the film I watched, which is supposed to be vastly different than the director's cut. Thirty percent of the film was re-shot when Brian Helgeland was replaced as director. The theatrical version is said to have had more humor and a generally more breezy tone. At the time this film was released, I was dubious of Gibson's tinkering, but since then Gibson has proven himself as a brilliant filmmaker, so I was less dubious this time around. Gibson years later co-write and produced a spiritual sequel to "Payback" with "Get the Gringo," in which Gibson plays another thief with a single name, which Gibson also narrates, and where his character at one point even says how he was once married, but his wife ran off with a former business associate. Overall, "Payback" is not in the same league as "Point Blank," but it does stand on it's own as a wonderfully retro crime film with an amazingly strong cast.

I have seen the released version of payback more then a few times and like it quite a bit. I just watched the Directors' Cut and found myself watching a totally different film. The producers must have done a pre- screening and found out that the director/screenwriter is an idiot and does not know how to direct. Brian Helgeland wrote this screenplay as well as the great LA Confidential but should never be allowed to direct as he has not idea how to do that. Payback the Director's Cut tried very hard to be a 40's Sam Spade kind of film noir but quickly became a series of unrelated scenes with throw away one liners. Sally Kellerman's voice over work is as wooden as her acting and for this reason she does not show up in the better version and is replaced by the fine actor Kris Kristofferson. The second half on Payback has been re-shot completely and the story changed. They still gave Helgeland credit for Directing as this was a gift to him as his original stuff is crap. Whomever re-shot the film and directed did a much better job and then the Editor saved the day by fixing a mess.I seriously wondered when Kris Kristofferson was going to show up and the net thing I know the credits are rolling. WTF

I first saw this in theatre. This flick maintains a promise of delivering an experience of a genre which carries nessesary weight. The film is engaging and smart. Payback is a fascinating and gripping exercise in a blending of genres with film theory and character. Payback is, in my opinion, a brilliant ultra dark thriller with a really cool edge to it. It is a sharp paced, brutal movie with enough bad attitude.The soft/dim look of the film richly sets the tone and the music is great, together creating a retro look that harks back to the old noirs of the day.The plot twists are fun, and kept me on the edge of my seat, and I also liked some of the editing, which showed three scenes being played out simultaneously. Its a fun ride, kind of violent, brainless entertainment. Gibson was amazing as Porter.

Dumb beyond belief. The characters and dialogue are so simple-minded that it's insulting. Add to that a plot that's so unfeasible, action sequences so impossible, and a preening Mel Gibson, and you have.....well, another Mel Gibson movie.I'm obviously not a Gibson fan. I find that his movies (at least since he's become a star and has more choice and control) to be intellectually void, until I'm forced to wonder if the man himself is just not particularly bright, and maybe that's why every movie of his ends up a dull-witted exercise that never exceeds a sixth-grade level of maturity. I understand that he's a Three Stooges fan and that's just about the height of the mental bar in a Gibson film (and, yes, I'm including The Passion of the Christ, which I thought was a joke). Sorry, I just can't stand the man. One positive note, or actually two, are the female leads, the beautiful Deborah Kara Unger and Maria Bello. Not only are they a comfort for the eyes but both give performances that belong in a film more worthy.