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Keanu Reeves and Patrick Swayze star in this nonstop action thriller about an FBI agent lured by the rush when he goes undercover to unmask a band of thrill-seeking surfers who rob banks to fund their addiction to pulling off the most daring score, surviving the greatest danger . . . and riding the biggest wave--Point Break.
Critics Consensus: Absurd, over-the-top, and often wildly entertaining, Point Break is here to show you that the human spirit is still alive.
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Southern Voice (Atlanta)Terry Francis Moronic West Coast dialogue, the very latest in MTV editing, and a young woman surfer abducted from her bedroom in a clinging white slip, who gets threatened with being gutted unless a man can save her.May 9, 2023FULL REVIEW
El Nuevo Herald (Miami)Rene Jordan Such convoluted nonsense is not for everyone, but those who accept it and follow along with its current can find it fun. [Full review in Spanish] December 8, 2022FULL REVIEW
Times (UK)Kevin Maher ... A near-perfect action film directed by Kathryn Bigelow with frenzied intensity, and it never seeks to patronise its own material or its audience. August 19, 2022FULL REVIEW
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Fiction MachineGrant Watson Action cinema is a populist genre that often struggles for respect among critics. It has always deserved better: Point Break is a landmark for the field.June 7, 2022FULL REVIEW
Deep Focus ReviewBrian Eggert This exhilarating movie runs on overdrive, offering an excess of stylish sequences and over-the-top performances that feel heightened by the “radical” and “extreme” behaviors on display. June 5, 2022FULL REVIEW
Gone With The TwinsMike Massie Much of the film feels as if an excuse for the cast to surf and skydive - a curious combination of daredevilry.January 2, 2022FULL REVIEW
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Film-authority.comEddie Harrison ...a propulsive action film that's rarely been matched for in-camera thrills and spills in the great outdoors....October 5, 2021FULL REVIEW
Medium PopcornJustin Brown The change in Swayze's character in the third act soured this a bit for me. The inconsistency took away from the impressive action scenes and fun plot.September 17, 2021FULL REVIEW
Medium PopcornBrandon Collins This is a very good action film despite some of the weird performances. It was very entertaining.September 17, 2021FULL REVIEWThe bodhi tree, according to the Buddhists, is the tree beneath which one finds enlightenment. That is not exactly how it works with Bodhi, the surfing bank robber who is the existential hero of Point Break, but he is such a persuasive character that a young FBI agent falls under his spell. Or maybe it is Southern California itself that attracts the agent - that land of surf and skydiving and strange karma, so seductive to a square football hero out of Ohio.
Point Break Movie Review & Film Summary (1991)
The hero, who has the thankless name Johnny Utah, is played by Keanu Reeves as a former Rose Bowl star with a bum knee, who joined the FBI and has been assigned to Los Angeles. A series of bank robberies is frustrating the bureau. Four robbers who call themselves the Ex-Presidents, and wear rubber masks of Nixon, Carter, Reagan and LBJ, have pulled off a string of bank jobs and left not a single clue behind.
Except one. Johnny Utah is given a partner named Pappas (Gary Busey), who thinks the robbers may be surfers, because one has a tan line, and a strand of hair found at the crime was polluted with the same contaminants found at a popular surfing beach. So he convinces Utah to go undercover as a surfer and try to break the case.
This is some California movie, all right. The plot description I have just supplied could work just as easily for The Naked Gun 3 1/2 as for Point Break, which takes it deadly seriously, even after adding several other preposterous developments like a guy who gets so mad, he jumps out of a plane without a parachute, free-falls until he can tackle a guy who has one, and then holds a gun to his head.
Point Break (1991)
The movie was directed by Kathryn Bigelow, a stylist who specializes in professionals who do violence. She made Blue Steel, with Jamie Lee Curtis as a rookie cop, and now here is Keanu Reeves in essentially the same role - a kid determined to prove himself, up against the twisted intelligence of a megalomaniac.
Bodhi, played by Patrick Swayze, is part mystic, part criminal, and over-all surfer. From clues developed by Pappas, it appears that he and his gang rob banks to support their surfing, and then move on when the seasons change. Johnny Utah does become friendly with them, and even falls in love with Bodhi's ex-girlfriend (Lori Petty), while trying to fit together the case. And then the plot grows truly ingenious, all the way down to its Zen ending on a lonely, storm-swept beach in Australia.
Point Break is not the kind of movie where we should spend a lot of time analyzing the motives of the characters. Once Johnny Utah realizes, for example, that Bodhi knows he's an FBI agent - should he really go skydiving with him, and let Bodhi pack the chute? Such questions are fruitless, because the movie has Utah trapped in Bodhi's spell, in which everything - free-falling, surfing, robbing banks - is part of catching the wave of life, looking for that endless ride.
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Bigelow is an interesting director for this material. She is interested in the ways her characters live dangerously for philosophical reasons. They aren't men of action, but men of thought who choose action as a way of expressing their beliefs. That adds an intriguing element to their characters, and makes the final confrontation in this movie as meaningful as it can be, given the admittedly preposterous nature of the material.
Bigelow and her crew are also gifted filmmakers. There's a footchase through the streets, yards, alleys and living rooms of Santa Monica; two skydiving sequences with virtuoso photography, powerful chemistry between the good and evil characters, and an ominous, brooding score by Mark Isham that underlines the mood. The plot of Point Blank, summarized, invites parody (rookie agent goes undercover as surfer to catch bank robbers). The result is surprisingly effective.
Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.(2012)—has made it ripe for reassessment, bringing to the fore not only Bigelow’s undoubted technical acumen but also its aesthetic and themes.
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, with all the super-rapid camera movement and big physical set pieces that implies. Two sequences in particular (an FBI raid on a group of surf Nazis, and an extended chase in cars and on foot), were amongst the best of their kind in the early-1990s.
Of action movies. Consider its often testosterone-laden dialogue, its ridiculously irritable FBI director Harp (John C. McGinley), and such downright comic notions as Agent Utah (Keanu Reeves) dressed in regulation dark suit carrying a lurid surfboard under his arm, or a Nazi with the uber-right-wing name of Bunker Weiss. Not to mention the way it sneakily undermines the assumptions of the genre where gender’s concerned. Reeves, looking decidedly androgynous, falls in love with the decidedly boyish Tyler (Lori Petty) and is clearly also falling into platonic love with pixie-like surfer Bodhi (Patrick Swayze).
Bigelow and screenwriter W. Peter Iliff set up the story briskly and without unnecessary complication. It’s Utah’s first day on the job as an FBI agent in California and he’s paired with a more experienced older agent, Pappas (Gary Busey), who resents him initially but inevitably becomes a pal. They’re assigned to the case of a prolific bank-robbing gang known as ‘The Ex-Presidents’ after the caricatured rubber masks they wear of Nixon, Reagan, etc. Clues ranging from chemical residues to a tan line noticed on CCTV suggests the perpetrators might be surfers, so Utah goes undercover to infiltrate their community.
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Proceeds from there pretty much as one would expect, though it does spring one substantial surprise around the midpoint. Its interest, however, lies not so much in
Faces and bodies (especially Swayze and Reeves), and they revel in light that glitters on the sea or bathes the desert in gold.
To the plot, but it affords Bigelow the chance to depict the main group of characters as almost depersonalised units in a composition that’s ecstatic for its own sake. Surfing silhouettes serve the same purpose. The skydiving sequence is followed by a beautiful shot of parachutes collapsing into water, its non-functional gorgeousness taking
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A considerable distance from the action genre norms. The score by Mark Isham, who again wouldn’t be the obvious choice for most action movies of the time, is particularly successful in enhancing the skydiving sequence.
Goes beyond convention, pushing the familiar idea of the nonconformist cop to its limits. In atmosphere it clearly contrasts the world of the surfers and the world of the FBI throughout; something made apparent from the beginning, where Bigelow cuts between slo-mo surfers on rippling ocean waves (joyous, possibility-filled water) and Utah doing target practice in
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