I recall the first one being pretty damn homoerotic in its own right, but even at their most heated, the manly men here never seem more than a few minutes away from a feverish full-on man-on-man make-out session. The other area Point Break approaches the original is in homoeroticism.
I will concede here that the stunts are pretty great, albeit not nearly great enough to redeem this misbegotten enterprise. If you want to see Point Break for its impressive stunt work and gorgeous cinematography, and only for its stunt work and cinematography then congratulations, because you are officially the only people on earth with a reason to see the movie.
POINT BREAK 2015 CHARACTER WHO DIED FIRST SERIES
What does a contemporary remake of Point Break have that the original does not? The only real answer is a series of incredibly flashy, dramatic stunt sequences where literally high-flying thrill seekers defy the laws of gravity to perform the kind of wicked-sick extreme sports stunts that’d have even Xander Cage himself saying, “Those were some sick aerial moves, bro!” Point Break is an exquisite time capsule from the early 1990s, a zeitgeist-capturing cult oddity that should, by all rights, be abysmal but instead is weirdly brilliant. The original Point Break had a number of irresistible elements that could never be replicated, including a future Oscar-winner (Katherine Bigelow) with a real genius for exploring the complications and complexities of masculinity in the director's chair, the funky iconic casting of the impossibly beautiful Keanu Reeves as football hero turned undercover FBI agent Johnny Utah and Patrick Swayze as Zen surfer bank robbing guru Bodhi and a fever dream of a screenplay overflowing with crazy camp elements that Bigelow, to her credit, played perfectly straight. How on earth could this garbage have cost one and a half hundred million dollars and how could it have grossed over one hundred million dollars? Worldwide box-office explains how this could have grossed over a hundred million dollars without seemingly anyone liking it but that 105 million dollars sure isn’t up there on the screen, to use industry lingo. “105 million dollars?” I asked in angry disbelief to no one in particular. When I looked up the Point Break remake on Wikipedia and saw that it grossed a little over 133 million dollars internationally against a 105 million dollar budget, I got pointlessly angry and indignant all over again. I’ve gotten to the place where I do genuinely feel vaguely insulted by the mere existence of staggeringly unnecessary reboots and remakes, and the 2015 muddle of Point Break is about as staggeringly unnecessary as they get. I’m not a film critic anymore, however, and as a civilian I’m less jaded. In my film critic days, I would have greeted a project like recent remakes of Robocop or Point Break-which I gave patrons to this site an opportunity to choose from for this week’s Control Nathan Rabin, the column where patrons choose between one of two torments for me-with a bored shrug and disinterested mumble of “Whatevs.”
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