Point Break Screen 4 articles

Point Break


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  • Kathryn Bigelow (Near Dark, Blue Steel) directed this 1991 actioner and manages to bring an impressive amount of visual splendor to the proceedings, including two first-rate chase sequences (one by car, another on foot), spectacular surfing and skydiving footage (cinematography in 'Scope by Donald Peterman), and some taut editing in the robberies. But once the characters open their mouths, we might as well be watching a blissed-out Bill and Ted caper.

  • POINT BREAK uses narrative asides to increase the suspense of its crime genre core. Extended explanations of the two worlds are never provided, giving the story the economy of convention to explore itself

  • Tyler melts, gets kidnapped wearing only a slip, is increasingly weakened, feminized, and ultimately dismissed before a final chapter that doesn't even acknowledge her existence. This isn't the cop-out of a woman director devoted to making men's films; it's a coup in Bigelow's early exploration of men's love of themselves and one another to the exclusion of any serious involvement with women.

  • The film is both an exhilarating feat of adrenaline-junkie action, and a blockbuster that subverts the system from within . . . Bigelow luxuriates in the ecstasy of the surf scenes, the physicality of the male bodies and the sheer liberation of the counter-culture life. She once described Point Break as a “wet western”.

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