100% Pure Adrenaline.

Milo here.

Hell yeah! Let’s take a much needed break from the choonage for a bit and get back to the movies.

Praised and parodied by countless films (Hot Fuzz, mate), Point Break is the 1991 directorial breakthrough for Kathryn Bigelow, who went on stun audiences with films like The Hurt Locker and Zero Dark Thirty, in which a silly-named FBI agent, Johnny Utah, goes undercover in a surfer crew, led by a silly-named surfer dude, Bohdi, who are under suspicion for a series of bank robberies. With Keanu Reeves and the late Patrick Swayze in each lead role respectively, you know this film’s gonna try its utmost to kick your ass.

Image result for point break anthony kiedis

Oh, and this guy, I wonder whatever happened to him…

From the offset, Bigelow sets the tone of mindless machismo with the film opening on chaboi Utah shooting the hell out of some practice targets in the rain. As you can expect, this kind of thing almost defines the film throughout its runtime. Well, that and the waaaaaaaaaaaaaaaaaaves duuuuuuude. Indeedly, the only thing we see more of than unintelligible screaming and Predator levels of bro time is your “free spirit” and being “one with the break”. While it does set the film apart from others in the heist/crime genre, it did seem a bit gimmicky at points, for me.

Regardless, the heists and crime aspect of the film did feel fully fleshed out and engaging, with there being a simple, albeit suspenseful, plot that unraveled really well in the second act of the film, leaving us with an adrenaline-fueled finale. While the action didn’t come as thick as I would’ve liked it to, with a lot of time being devoted to metaphors about wind and stuff, when it did come, it came fast. There’s a nice balance between gunfights and fistfights, something rarely seen in many great action films, and one of the best foot chases this side of the Bourne trilogy (because the crap ones don’t count). However, we also got a lot of great stunts and extreme sports, with the skydiving scene being particularly cool. It’s a film that simultaneously makes you want be in it but have nothing to do with it.

Image result for point break skydiving


For the most part, the performances were fine. However, some were definitely better than others. A good example of this is in the two leads, Reeves and Swayze. Now, let’s be honest, Keanu Reeves is a cool son-of-a-somethingorother, but he isn’t exactly the most versatile actor in the world. Prime example is his turn here, where I couldn’t help thinking that he almost had a B-movie level of badness to his delivery. This isn’t necessarily a dig, but I doubt it was what he was looking for. Then, we have Swayze. Now, let’s be honest, Patrick Swayze was a cool son-of-a-somethingorother, and he’s proven himself to be more versatile than people remember, with him putting in great turns in films like Dirty Dancing and Donnie Darko, as well as stuff like this and Roadhouse. He is a cool dude here though, so I guess it wasn’t much effort to play. We’ve also got great turns from Gary Busey, who’s always a joy to watch, and Lori Petty, who avoids the general “love interest” archetypes to bring us something all-round refreshing.

Overall, Point Break is a fine film, if a little over hyped by people in their 40s. It’s got great action and crime storylines, buckets of manly man-ness and nice helpings of kick-ass sequences. However, this is let down by a kinda off performance from Keanu Reeves, leading to an almost campy tone over the whole thing.




Lots of hugs, kisses and lacerations


12 thoughts on “Point Break (1991) – Review

      • Though I haven’t seen it, judging by the general consensus, as well as just the trailer, it looks to be pretty sacrilegious to the original. Think it would be best to stick with Reeves and Swayze. 🙂


      • Full agreement from here. I think the worst, sometimes, are superhero movies. Ask Eric Bana how it felt to have his Hulk re-dome so quickly. And how many times can they wedge new Spider-Man origina movies into each consecutive year? Yawn…

        Liked by 1 person

      • For me it all started with the Batmans. We all know his folks died in the alley, why keep re-telling it? I’m old enough to staunchly maintain that the Keaton/Nicholson/Basinger?music by Prince Batman is the best one. It’s a controversial opinion, but the kids always wanna have their own shiny new toys built on solid previous work. I often wish they’d have just continued the story. Like, you could still have Christian Bale and whomever else when Keaton didn’t want to do it anymore, but it could all be backstory, filling in further adventures instead of trying to re-do it.

        Liked by 1 person

      • Yeah, I see where ya comin from. I think the filmmakers want to start a-fresh with every new Batman they put in the suit. Hopefully they’ll start to listen to the fans by the time ol’ Batfleck gets his solo film.


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