Targets is a wonderful "overlapping" film. It was, arguably, the last truly notable film of Boris Karloff's 50-plus year career. It was also the directorial debut of Peter Bogdanovich, who went on to do other great films like Paper Moon. It's only fitting that these two greats, one soon ending a career in film, the other just starting, should work together on a movie unlike what either had ever done or would do again.

Byron Orlok (Karloff) announces his retirement from the movie business after a studio screening of his latest movie "The Terror" (actually a Karloff vehicle, directed by Roger Corman and a young Francis Ford Coppola) much to the chagrin of the studio heads. He walks out to his car, chased by Sam the screenwriter (played by Bogdanovich) trying to get him to reconsider. Across the street, Bobby Thompson (Tim O'Kelly) is buying a scoped rifle for "hunting." When he goes to put the rifle in his trunk, we're given a view of quite the arsenal that Bobby's been amassing. After this, Byron and Bobby's stories run parallel to one another, finally intersecting at the end for one of the most intense scenes committed to film.

Karloff performs amazingly as Orlok, as he should. Byron Orlok's character is but a thinly veiled caricature of Karloff, and it shows. Orlok is weary of Hollywood life, feeling he is an "anachronism," too antiquated for the movie life. His jaded comments on Tinseltown ring all too true, coming from Boris' seasoned person. It's amazingly refreshing to have an actor be so truly honest in a role, speaking deep from the heart. Had the role been given to anyone but Karloff, it would have lost much of its validity. Another high point of the film comes later on, when Orlok is telling a creepy story, preparing for a personal appearance at a drive-in theater. This is classic Karloff, honey-throated and delivering the tale with subdued glee. Not that Karloff is the only good actor in this film...not at all! Tim O'Reilly is unbelievably imposing as Bobby Thompson, portraying Bobby as a psychotic confused by his emotions. He sets up a sniper's nest atop a water tower, almost ritually lays out his guns, and then begins to munch on a pack lunch he has brought. Eerie.

Bogdanovich's direction is also a treat, particularly in the separation of the two plots. Bobby's world is garishly colored, resembling an uncomfortable sitcom, whereas Orlok's life has a silent menace and gothic sensibility to it. Not an obvious one, but very subtle. Camera work is incredible, giving us some nice roving shots, clever use of shadow, close-ups that add immensely to the tension, and a jarring bullet's-eye view during the final sniper sequence that proves to be quite disturbing in spite of its near overuse.

Picture quality was surprisingly good for this almost 40-year-old film. Blacks were deep and rich, edges were crisp, and colors were well saturated. The only real downside was the large amount of print damage, and a slight artifacting issue in certain white parts of the film. Audio is the original mono mix, and does rather well. Dialogue was muddy at times, but for the most part did the job well. Extras include a commentary track and an introduction to the film by Peter Bogdanovich (wearing quite the neckerchief, I might add).

Targets works because it still remains socially relevant. In today's society, where gun violence has survived for years, it still hits rather hard. To paraphrase Karloff, why would anyone be afraid of a painted monster when the real monsters walk among us? While it may be a bleak outlook, it doesn't make this movie any less worth your money.