The 1968 directorial debut of well-known cineaste Peter Bogdanovich remains one of his very best movies, and to some viewers it might seem more powerful today than it did 30-some years ago. Targets, written by Bogdanovich and then-wife Polly Platt, tells two stories that converge in the film’s startling climax. In one plot thread, aging horror-movie star Byron Orlok (Boris Karloff, more or less playing himself) announces to the producers of his latest picture that he’s ready to retire, given that his screen work no longer shocks audiences, who see images of violence and murder every night on their TV sets. Orlok despairs for our society, and his concerns seem justified when we’re introduced to Bobby Thompson (Tim O’Kelly), an apparently normal young man whose wholesome appearance and demeanor masks a deep-rooted disturbance. Bobby snaps, killing his wife and mother before going on a shooting spree that culminates in an assault on the patrons of a drive-in theater -- where Orlok's film is being screened. Bogdanovich meant Targets as an allegory for contemporary America, at that time enduring what seemed like waves of senseless violence, highlighted by Charles Whitman's 1966 murder spree in Texas. Karloff, terminally ill but owing producer Roger Corman another picture, delivers what is unquestionably his finest latter-day performance; though he subsequently appeared in several more films, Targets would have made a more suitable coda to his long and distinguished career. O’Kelly exudes Middle American normalcy, so much so that viewers will find his sudden psychotic explosion even more terrifying. Bogdanovich (who also plays a small role) uses dialogue sparingly and relies on imagery to carry his narrative. He depicts American life during the Vietnam era with honesty and simplicity, and while there’s an anti-gun message at the movie’s core, Targets never resorts to the overt preachiness or intellectual dishonesty of, say, an Oliver Stone movie. In an era where 24-hour cable networks thrive on sensational stories, Bogdanovich’s modest little movie seems more relevant than ever.