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There’s a rule in acting that says if you have to do or say something absurd, something that feels utterly ridiculous and untethered to reality, the only way to pull it off is to commit fully. Seriously.” Keanu Reeves and Patrick Swayze in Point Break, 1991. The man could say anything, and it works. And nobody could have pulled off the character of Bodhi without making you hate him, let alone root for him, like Patrick Swayze. If the strangely unjustified but somehow entirely natural bromance between Johnny and Bodhi had even a slightly different tone, it could have been dull and generic. If any one element of Point Break were removed or tweaked, the film wouldn’t have worked. Yes, there’s some commentary about the evils of capitalism, but it’s used merely as a way for the movie’s criminals to justify robbing banks.
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It’s not a political statement about anything, and none of the actors lived like a 17th-century shit shoveler to get into character. Once the talented cast was in place, director Kathryn Bigelow produced a roller coaster of a popcorn movie.
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Point Break has a solid core of a script, peppered with plenty of crime and cop movie tropes, like the pairing of a salty middle-aged guy with a hotshot rookie, and a boss who perennially has his head up his ass and yells a lot. It’s courting eye rolls that will turn into cheers, and it knows it. The dude in an FBI jacket scoring Utah’s performance hits a stopwatch, writes something down, and yells, “One hundred percent, Utah!” Keanu flashes a movie-star smile with his perfectly wet hair draped across his forehead and gives him a thumbs-up. All this is intercut with cinematic slo-mo shots of a silhouetted Bodhi surfing at sunset. Utah hops off his perch on a car trunk, racks his shotgun one-handed in semi-slow motion, and starts blasting wooden targets to pieces while rolling and diving his way through the course. He puts a piece of gum in his mouth and chews. A dude in a hat blows a whistle and points to him, and our soaking wet hero looks at the camera over his shoulder like he’s so cool that he forgot he was even on a movie set. It opens with Utah doing some Hogan’s Alley-style combat training in the pouring rain wearing a T-shirt and jeans. Nothing about Point Break depicts reality, nor is it meant to. Now enjoy this bit of pure action fantasy.” This movie knows it’s a movie and is winking at the viewer saying, “We know you know. That’s another reason Point Break has aged so well: It’s honest about how cheesy it is, about how much of a movie it is - from the character names to the setup to the action. The focus of the film is not on the criminals but on Johnny Utah - a name that sounds even more fake coming out of a young Keanu Reeves’ peach-fuzzed face. This creates a distance that makes the gang more mysterious, and the turn in the third act when we find out for sure that Bodhi (Patrick Swayze) and his surfing buddies are indeed the bank robbers is therefore more believable. You’re not even certain who the bank robbers are until deep into the film, and you find out they go rock climbing and skydiving from a few photos we see in a panning shot and from what Tyler (the always awesome Lori Petty) explains in a brief exposition dump. In Point Break these counterculture themes lurk in the background. The Ex-Presidents in masks with the faces of Richard Nixon, Jimmy Carter, Ronald Reagan, and Lyndon Johnson. Yet these modern counterculture, anti-establishment criminals work so fast, so clean, that nobody ever gets hurt - until they do. The idea of a semi-Zen gang of nonconformist surfers in Los Angeles taking repeated jabs at the system while dressing up like ex-presidents is a darkly attractive conceit that harks back to the American obsession with Dillinger and James.
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Their primary activities are surfing, free solo rock climbing, and robbing banks. The plot revolves around a group of daredevils. Part of the genius of Point Break, and why it’s so rewatchable, is its structure. Just YouTube that one incredible wingsuit scene. Actually, no, don’t put yourself through that. Do you doubt that? Try to watch the 2015 remake. If you purposely attempted to make that magic happen again, the results would be horrendous. Point Break was a zeitgeist movie - an encapsulation of films and pop culture during that colorful transition from the 1980s to the 1990s - with the perfect director, cast, script, style, and timing. Point Break has all the makings of an utterly forgettable cinematic footnote, yet it’s one of the greatest and most unique American action films ever made. Or at least one of their favorite action movies of all time.
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Yet many, many people list it as a favorite movie of all time. There is absolutely no logical reason Point Break (1991) should have become a classic.