Point Break

I really like Keanu Reeves. But boy, does Patrick Swayze steal the show. In what is maybe the most charismatic role of his career, he makes Keanu develop a serious man-crush on him, and we can all understand why Keanu couldn't do what he was about to do in one of the most iconic scenes of the film.

If only we had more directors like Kathryn Bigelow. This woman showed more balls in this one movie than most male directors will ever have in a lifetime. The shots are bold, dynamic; the directing is intense and energetic - I fell in love with this film and Kathryn Bigelow the moment I saw the first shots.

If you haven't already - please go watch this movie. It has aged very well - in fact, I feel like it hasn't lost any of its power, which in my book is a sign for an outstanding achievement. It feels as fresh as those waves it managed to capture in incredible style.

You know those movies where there's not one realistic thing about them, but it only adds to the charm and fun of it? Where the insanity and occasional inane script choices make it that much more entertaining? Point Break is such a film. It doesn't operate on any levels of reality, unashamedly, and wears its "movie" status proudly, deciding instead to tell a intricate tale, which is loads of fun. Kathryn Bigelow should be proud.

Point Break is pure fantasy. It jams surfing, action, love, and crime into one awesome-looking package, and presents it excitedly. Everything about it is crazy. It's about an FBI agent named Johnny Utah trying to catch surfer bank robbers. You throw realism out the window upon seeing the plot summary. I mean, Utah uses his real name undercover (because why not?), falls in love with a girl (predictably), barely hides his profession as an FBI agent, and at one point, he and the main villain know the other's true identity but still act like best buds for no reason.

Keanu Reeves is at the top of his stoic, emotionless game. The only actor to ever give poor performances well, Reeves has made a living off of his visible lack of enthusiasm in his roles for years, and it's somehow charming and endearing. He's weirdly perfect as Johnny Utah (the coolest character name ever next to John McClane and Axel Foley), and gives his all in the role. Patrick Swayze is excellent as the villain, and it may be his finest performance. He plays a serious turd in this movie. He's cool in the beginning, but you just totally hate him by the end, which is the hallmark of a good villain. Gary Busey is here too, lending some class and craziness as usual.

Point Break is also chock-full of great action sequences. The beach fight was cool, with Reeves and Swayze showing off their moves, and the house raid was also well-done. The car and foot chase scene that everyone talks about is stupidly entertaining and well-shot. The bank shootout and runway shootout were cool, and the plane scene was legit. The final fight was intense and brutal, and very memorable. You know those movie moments where it's totally unrealistic, but it's just awesome and you just smile while watching, regardless of how unbelievable it is? I experienced such a moment during the second skydiving scene. Awesome.

Definitely watch this 90s action classic. It has all the slow-mo, intense gunpoint scenes, bloody squibs, and fist fights you could ask for.

Also, this movie is not gay. I hate it when people always try to over analyze every male relationship looking for gay subtext. Every decision Keanu made with Bodhi's life was out of friendship and respect. It's not gay. Stop it. Go watch Brokeback Mountain (2005) and shut up.

Thirteen years on it sounds a little trite - an FBI agent examines his inner self whilst trying to bring down a gang of surfer bank robbers by infiltrating their scene. But dude, how Point Break pulled this off!

In what can now safely be regarded as one of the more generation-defining cinematic moments of the nineties, Point Break serves as not just a credible well-paced action thriller spectacle, but also as a voice for advocates of the adrenalin rush. The movie's sleeper popularity at the time would no doubt have helped issue in a new generation of 'X' sports for a new generation, as hungry sponsors leapt at a new market.

Kathryn Bigelow takes some key pointers from then hubby James Cameron and paces the movie brilliantly. There are many key moments of unique action - that chute-less jump from 4,000 feet being the highlight - that filled the trailer, but it is the cumulative effect of bringing these moments together that adds to the picture. For so many films the denouement is a gross failure but Bigelow controls the films peaks and troughs expertly and the ending is genuinely well handled, something that appears to be a real struggle for Hollywood today.

In what will go down as Patrick Swayze's finest moment on film, he plays the adrenalin guru Bodhi with glaze-eyed and silver tongued expertise, and manages to pull off the very difficult assignment of being both sane and insane simultaneously with accomplishment.

You can almost feel pulled by Bodhi's enthusiasm for a sensation 'as close as you get to God', and as a result can excuse the decade for being labeled that of the 'slacker' generation. The nineties weren't about slacking, just looking for a different kind of high.

On this face of it, this ought to be rubbish... a testosterone-fuelled story of beautiful people who rob banks to fund their hedonistic lifestyle that largely revolves around anything that causes their adrenalin to rush, but it isn't rubbish. Kathryn Bigelow keeps the pace end-to-end, and both Keanu Reeves ("Johnny Utah") and Patrick Swayze ("Bohdi") are clearly having fun as the FBI agent pursuing the gang of rubber mask clad "ex-president" beach-bum robbers. Reeves is easy on the eye, but pretty wooden and sure, the plot has more holes than a string vest but the story isn't meant to be deep and meaningful. This is just a fun adventure escapade that sees our hero go surfing, sky-diving and the cinematographer is clearly in his element, too. The ending, though cluttered up with some lovey-dovey nonsense, is actually quite exhilarating as the pair seem to develop just a little bit of a bromance... It's an updated variation on the traditional cops 'n robbers affair that offers much by way of escapism on a wet, wintry evening and ought to be judged accordingly.

Point Break is one of those films that everybody loves, but that nobody actually talks about all that often. It is a film that if you mention it in conversation, everyone else around is bound to say how much they enjoyed it.

The film's two main assets are unexpected ones, in the form of the direction and the script. The direction by Kathryn Bigelow is nothing short of excellent. Her handling of the action and suspense scenes is exciting and riveting. The two sky-diving scenes are brilliant as is the foot chase through the streets (and houses) of the city. The script, by W. Peter Illif, is also very good and the best thing about the film. The plot is multi-layered and has an original relationship between the hero and the villain. The way the story resolves itself and the ultimate resolutions is excellent, by the standards of most Hollywood action films.

This film deserves to be remembered as one of the better actioners of the nineties, not up there with Die Hard 2/3 or Speed, but better than 90% of the action junk made nowadays. At least this film has a plot.