This movie revolves around the struggles against a group of robbers, known as, the ex-presidents, as they cover their faces by the pictures of the formal presidents, so the government asks, Johnny Utah, an FBI agent, who goes undercover and does his best, in order to catch those criminals in an adventures series.
A hare-brained wild ride through big surf and bad vibes, Point Break acts like a huge, nasty wave, picking up viewers for a few major thrills but ultimately grinding them into the sand via overkill and absurdity.
This is a very macho movie, and if the better film schools are looking for a contemporary film that very keenly exemplifies the marriage of sound and shoot, this is it.
An exercise in stylish lunkheadedness. It's gorgeous but dumb as a post; watching it is a bit like shooting the tube and then getting cracked on the head by your board.
Did a dry California wind scramble the script as they moved into the third act? Did the tape recorder go on the blitz at the story conferences? Was there a fire in the editing room?
A lot of the snap comes, surprisingly, from Mr. Reeves, who displays considerable discipline and range. He moves easily between the buttoned-down demeanor that suits a police procedural story and the loose-jointed manner of his comic roles.
Rolling Stone
May 12, 2001
Bigelow can't keep the film from drowning in a sea of surf-speak. But without her, Point Break would be no more than an excuse to ogle pretty boys in wet suits.
BrianOrndorf.com
July 12, 2011
The essence of movie remains unsullied, and with every viewing comes fresh details and a new appreciation for the film's fearlessness and originality in the midst of all of the cop formula.
A nearly flawless marriage of the genre clichés of the classic '80s-model cop action picture with the elevated physicality of the '90s action films to come.
