Thrills aplenty but Logic AWOL in “Point Break”

Surprisingly, there’s something of an intriguing story
propelling Ericson Core’s remake of Kathryn Bigelow’s cult action flick Point
Break, a movie that, despite it’s many fans, isn’t above an update or two what
with the many technological advances that have occurred since its release in
1991 (yes, it’s been that long.). 
Slickly made and featuring impressive stunt work throughout, the film is
ultimately brought low by a faulty third act in which Core’s love of the
movie’s action scenes clearly outweighs his affection for dramatically sound
moments.  Not helping is the wooden
performance by one of the leads, which finally takes its toll, leaving viewers
exasperated and wishing something more demonstrative – like, a rock perhaps –
had been cast in the role of hero.

Seeking meaning after witnesses the death of a friend during
a motocross accident, Johnny Utah (Luke Bracey) decides to become an FBI
trainee, reasoning that he can get his adrenaline rush from doing good rather
than doing somersaults in the air.  His
extreme sports background comes in handy when his superiors tap him to help
bring down a gang of modern Robin Hoods who commit daring crimes and then give
the proceeds to the less fortunate.  The
crew is easy to find but hard to nab so Utah has no problem infiltrating the
crew, making immediate friends with its leader Bodhi (Edgar Ramirez).  It soon becomes apparent that this
charismatic crook and his cohorts have grand designs where their heists are
concerned as Utah deduces they are attempting to complete the Ozaki Eight, a
series of physical trials that help those attempting them to foster a better
relationship with the Earth.  So a day at
the office for these guys consists of traveling to South America to blow up
trucks hauling gold ore so that they and their payload can tumble back into the
mines. 

Well, it sure sounds good on paper and that’s where the
Ozaki Eight exist, in the script by Kurt Wimmer.  No matter that they’re fiction, it’s a solid
premise to build the film around and obviously gives Core the opportunity to
stage some incredible stunts.  Hanging
ten while shooting the curl of 80-foot waves and taking a suicide snowboard
ride down the side of a mountain with numerous rocky outcrops, provide the
characters with the thrills they seek and viewers with the vicarious experience
they hope for.  The highlight occurs when
Utah, Bodhi and two others don nylon body suits with webbed corners that
enables them to fly through chasms like squirrels that have stumbled upon a
stash of coffee beans.  At no other
moment does Core put us in the characters’ place as he does here and it proves
to be a genuinely exciting piece of cinema, the sort that should be seen on
IMAX screens to appreciate the sheer insanity of this act.

However, as director Hal Needham proved again and again, a
collection of stunts does not a movie make. 
The wheels begin to come off this thrill ride when Core devotes more
time to the stunts and less on logic with a third act in which previously
intelligent characters suddenly become no smarter than fence posts and Wimmer’s
tacked-on conclusion rings hollow.  However,
the straw that breaks this cinematic camel’s back is Bracey’s performance.  Sporting a range of emotions that spans from
1.A to 1.B and giving Utah the emotional depth of a teaspoon, the actor manages
to make boulders seem emotive by comparison. 
He generates little in the way of sympathy, lives forever in the shadow
of the more experienced Ramirez and makes you want to ask him what he purchased
with the money that had been set aside for acting lessons.

With veterans Delroy Lindo and Ray Winstone, as Utah’s
superior and grizzled contact in the field respectively, the film has something
of an anchor to prevent it from floating away on a wave of ridiculousness while
Teresa Palmer does a fine job as the object of Utah’s affection.  However, in the end it just all doesn’t come
together and like many of its stunts, Point Break delivers thrills that last
a moment or two, leaving us wanting something more substantial. 

This article appears in Jan 7-13, 2016.