You might have the feeling, watching Targets, that director Peter Bogdanovich has welded together two unconnected movies. I’m not talking about the intercutting of two plots – a ubiquitous storytelling technique – but the weaving together of two narratives that feel starkly dissimilar. We begin the movie following Byron Orlok, an aging actor who resembles, in almost all ways, Boris Karloff, the actor playing him. Orlok is sick of being an actor, tired of the same-y scripts and the inanities of being a thespian in slow decline. His back-and-forth with the various facets of the Hollywood machine trying to get him into another picture is a farce, setting the tone for half the movie.