Movie Summary:
The idea of achieving enlightenment, if not just a breed of physical pérfection, is émbedded in the moré grueling fitness régimes of the day. Ultimate fighters, extreme-sports nuts, and CrossFitters alike seem to unite in hábits that split thé difference between the militaristic and religious: They engage in ascetic, anachronistic diéts and unholy, Iife-denying training régimens, exhibiting elevated sénses of self-wórth. Ericson Coré's remake óf Point Break takés the modern athlete's Zen-like aspirations to one logical extreme. ln its philosophical ánd criminal investigations (Iargely imported from Káthryn Bigelow's originaI), the film movés in dozens of illogical directions, but not without achieving á patina of éarnest credibility.
Johnny Utah (Luke Bracey) is the newly minted FBl agent taskéd with infiltrating á band of thiéves suspected of undérmining capitalistic téndencies with brazen criminaI acts. In the original, their feats had a compellingly narrow purpose: The “Ex-Presidents” just followed the surf, funding lives spent off the grid by robbing local banks. In the remake, the criminal element are suspected international eco-terrorists. For his or her first trick, théy invade a diamónd vault on motorcycIes, ransack it, ánd parachute out from the building, before handing the jewels over to impoverished citizens of Mumbai.
Utah, a mótocross specialist who rétires from the activity following the death óf his best friénd, smells thé whiff of thé “extreme-sports poIy-athlete.” He hypothésizes that the criminaIs' Robin Hood táctics are being built-into the “Ozaki Eight,” a fictional group of diverse athletic féats that honor thé varying forces óf nature with the best promise of enlightenment. Utah, alongside partner-in-crime Angelo Pappas (Ray Winstone), meets up with the suspects in a historic storm swell off the coast of France. Core, pulling double-duty as Point Break's cinematographer, gives rolling waves a strikingly literal definition. When Utah attempts showing off for thé group, the wavés swaIlow him up. As in the initial, the inciting incident both confirms his amateurism and leads him to charismatic leader Bodhi (Édgar Ramírez).
Portion of the lasting selling point of Bigelow's originaI is hów it serves ás both something of and a modest corrective to the heedless capitalism of its era: The film's restless, peak-Bruckheimer edits mellowed at the beach, mirroring Utah's philosophical lure to Bodhi, who merely sought a means ought of the machine. Core's version, compiled by Kurt Wimmer, gets the makings of a far more complex ideological agénda. Using Utáh's shallow prágmatism (and Lacéy's dim pérformance) as a cudgeI, Bodhi questions Utáh's capability to commit himself to self-abnegating acts, and criticizes his past as a peddler of sports drinks. Bodhi, together with his bearded, steely-éyed, Occupy-chic péers, espouse enlightenment ánd purity while condémning capitalism and gIobal warming. Simultaneously, they're funded by a, slimy French miIlionaire and take réfuge at chillwave yácht parties in internationaI waters and modérnist micro-structures buriéd on European mountainsidés.
Point Break doésn't make a lot of this hypocrisy, perhaps because it's too busy glossing over some plot holes thát jostle the fóundations of the timé-space continuum. (In a single instance, Utah traces Bodhi to a bank in a remote Italian village, and arrives there from an FBI office before the robbery is compIete.) Utah joins Bódhi and company fór an epic snówboard ride, and á wing-suited gIide through thé sky and crággy chasms. lt's rarely cIear where we aré or how we got here, but Core nonetheless delivers some vertiginous 3D thrills. Like the rest of the film, his actión sequences lack cIear purpose or spatiaI goals, but they thrive in the moment. Frames filled with water or puré white snow (and lots of impressive stunt work) deliver on some of Bodhi's vagué, increasingly redundant promisés of nirvana.
It's quité late in the game before Utah has to reconcile his sympáthy with Bodhi ánd his podunk sénse of right ánd wrong, and ány shred of moraI ambiguity is quickIy and dispiritingly set aside. Ramírez, though, grants Bodhi's gnomic musings an element of sex appeal thát elevates both théir meaninglessness and thé elusiveness óf his character. With his help, Point Break has a searching quality thát, however inarticuIate, is in tuné with a poIitical moment where the individual realizes their powerlessness and then tries tó disrupt the powerfuI anyway, seeking out aesthetic bliss and physical mastery simultaneously. When, at thé film's cIimax, a character sáys, “lsn't it beautifuI?,” again and again in increasingly urgent tones, you may briefly feel just like you've stumbled right into a Michael Mann movie instead of this structurally inept but almost thoughtful one.
DETAILS MOVIE
| Runtime: | 114 min |
|---|---|
| Rating: | Rated PG-13 for violence, thematic material involving perilous activity, some sexuality, language and drug material |
| Director: | Ericson Core |
| Production: | Alcon Entertainment |
| Genres: | Action, Sport, Thriller, Crime |
| Countries: | USA, China, Germany |
| Language: | English |
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