Targets

Roger Corman offered to produce (without credit) whatever film first time director Peter Bogdanovich wanted to make under two conditions: He had to cast Boris Karloff, who owed Corman two days work; and to keep the cost down, he had to pad the running time with footage from an earlier Karloff film. The result was TARGETS (1968), which proved to be too topical for many theaters to touch when it initially appeared. That's a shame, because it provided Karloff with an A-level role as the sun set on his life and career. Bogdanovich tells parallel stories which converge at the finale: One involves…

**_As relevant today as it was when it was made_** An aged horror icon (Boris Karloff) wants to retire because he’s weary of the biz and thinks modern life has become more horrifying than his old-fashioned movies. But a director/writer (Peter Bogdanovich) encourages him to read an atypical script or, at least, attend a promotional appearance at a drive-in, which is showing his latest movie, “The Terror.” Unfortunately, a young ordinary man (Tim O'Kelly) has snapped and is on a killing spree with the drive-in being his final shooting range. “Targets” (1968) is a minor cult masterpiece, a…

Hmmm… I’ve never quite got Bogdanovich. I’m still not convinced. _Targets_ is a good idea—old-school horror legend (Karloff, doing his best with what he’s given) crosses paths with a modern-day, real-world killer—but it never quite lands. Karloff’s great, obviously, and there’s something poignant about him playing a man who knows he’s past it. But the rest? Bit of a slog, honestly. The sniper stuff should be tense, but it’s weirdly flat. And the script is dreadful—people talking like they’ve just learned how conversations work. It feels like Bogdanovich had something to say about violence…