Point Break

Zen surfer dude Bodhi, meet intense FBI undercover agent, Johnny Utah, who's in the California area in search for the Ex-Presidents, a group of armed robbers named after the masks they wear (LBJ, Nixon, Carter, and Reagan) when they stick up banks. The problem is that Bodhi, played by Patrick Swayze, has no idea that his new friend is a cop, while Johnny Utah (the name's way too good not to fully spell out every time), is clueless that Bodhi, who preaches love and peace (and means it, for the most part), is actually one of the guys he's looking for. Straight-forward, right? It would be, if the film had been in the hands of any director other than Kathryn Bigelow. 

Bigelow has an incredibly sharp eye for detail, which serves her well in establishing the way these guys (both the cops and the surfers) behave and relate to one another. She carefully develops her characters enough to make you care about them, but not so much that you won't fully enjoy the action sequences that kill off quite a few of them. From the surfing and the skydiving to the robberies, shootouts, car and foot chases, Bigelow is always in control. She sure seems to love the sports, crafting beautiful long shots with natural lighting, and slowing down the pace to make sure the audience enjoys the view, while never forgetting that anything can go unexpectedly wrong while either surfing or skydiving. Take, for example, the first skydiving sequence, where she beautifully transfers from thoughtful, dialogue-free slow-motion shots to fast-paced, frantic close-ups full of the noise of the wind and dialogue in a moment when Johnny Utah thinks that Bodhi has sent him off without a parachute. She escalates the tension so abruptly, it felt like a shock to the heart no doubt similar to what Johnny Utah must have been feeling. Bigelow diffuses the tension just as quickly when Bodhi pulls the chute for him and Utah lands safely. 

I thought to myself, here's a director, who's in full command of her story and of her craft. It's just delightful to see one set piece after another in this film. Most impressively is the robbery which turns into a car chase and ends in a foot chase between Johnny Utah and "Reagan,” who’s really Bodhi, as Johnny finds out at the end of the scene. Bigelow proves here that a director can use handheld, fast-moving camera to create a sense of heightened awareness and suspense without sacrificing spatial continuity. The best action sequences, to me, are the ones where A) I can tell what's going on and who is where, and B) The pace and energy of the scene builds along with the actions onscreen, which can mean shaky-cam if used well. This is exemplary action filmmaking all the way. I also just loved the way that among all the usual breaking of glass doors, jumping over fences, and crawling across back alleys, there is one truly unexpected moment in which Bodhi picks up a dog and chucks it at Johnny Utah. Fast thinking by Bodhi, who proves to be a decent, smart criminal with the ability to think on his feet (which the film returns to as it witnesses his downward spiral) and great reaction by Keanu Reeves. 

In one scene, Tyler, the cool and detached surfer chick who must inevitably fall for Utah, tells him that he always looks like he's preoccupied with something, due to that scowl on his face that just won’t go away. In several Keanu Reeves' movies of the time -- I think he’s gotten better with age -- this is a distraction. However, here it suits him perfectly, particularly when played against Swayze's undeniable, easygoing charisma. The two make an unlikely pair, which, (like in so many movies) is why it works so perfectly. The rest of the cast is also topnotch, even in small roles. John C. McGinley plays the asshole FBI boss while Gary Busey serves as the "too old for this shit" cop stuck with the “quarterback punk” Johnny Utah for a partner, but they both milk every little moment of screen time they get. Busey even gets one hell of a farewell party for his character, but both are unforgettable. Lori Petty as Tyler is also memorable, particularly when she's allowed to be just one of the guys. She holds her own quite well alongside Reeves and Swayze, but in the end is reduced to damsel in distress (with a white dress nonetheless, proving Bigelow cherishes her cliches). 

The movie’s plot builds nicely, but predictably to its climax. Bodhi finds out Utah’s big secret, the reason for his ever-present scowl, and kidnaps Tyler for insurance.They circle around each other for a few scenes before having one final, epic fight. However, instead of ending, the movie continues. Bodhi gets away, leaving Johnny Utah far, far behind. There’s an epilogue, though, in which the two meet again. It’s by far my favorite scene of the film. With Johnny and the ocean as his only witnesses, Bodhi proclaims his final words: “My whole life has been about this moment, Johnny. Come on, compadre. Come on!” he begs to ride one final wave. “Vaya con Dios, brah.” Makes you want to cry, doesn’t it? 

Verdict- 3.5/4
Point Break (1991) 2h 2min. R. 

Random Thoughts
- Cheesy as hell, you ask? Probably, but there’s something irresistible about this one. I think I’ll be returning to it frequently in the future. 
- This is the sort of movie I was expecting when I first checked out Top Gun for the first time a few years ago. People still claim that film is some sort of masterpiece. They couldn’t be more mistaken. Instead, I had only heard of Point Break on a few occasions. It is by far the superior film.
- I kinda hate Top Gun. The only good thing about it is the mockery it inspires in some circles. 
- Bodhi is a Buddhist term. It means enlightened.