Out Of Theatre

Point Break

Out Of Theatre
01 Jan, 2016 1 hr 58 mins U/A
Edgar Ramirez, Luke Bracey, Teresa Palmer, Ray Winstone
Edgar Ramirez, Luke Bracey, Teresa Palmer, Ray Winstone
Ericson Core
2.5
2.7
Synopsis
Although this is a remake of 1991’s 'Point Break,' this version often takes off on its own tangent but with a substantially-increased action quotient.
2.5
2.7
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  • Critic's Review
  • Trivia / Goofs
  • Plot Spoiler
  • Times of India
Story: Young poly-athlete Utah (Bracey) is keen to become an FBI agent. So, he volunteers to go undercover for the Bureau and nab a group of men who undertake a series of daring heists. They also undertake a series of death-defying tasks known as the Osaki 8, in order to attain a spiritual high, or so they claim.

Review: Although this is a remake of 1991's 'Point Break,' this version often takes off on its own tangent but with a substantially-increased action quotient. And incidentally, it is the action and stunt sequences which together comprise the best aspects of this movie.

So, Johnny Utah (Bracey) pleads with Instructor Hall (Lindo) to let him nab the perpetrators of the said heists. Utah outlines his theory about how he expects the men to try and complete the Osaki 8. Utah plans to interdict them when they get ready to attempt their next task. Visually, Utah is more surfer dude than FBI sleuth, always ready to take his shirt off. Then there's the homoerotic vibes between Utah and Bodhi (Ramirez), who turns out to be the head of the group Utah is after. Bodhi also has the habit of spouting neo-hippie philosophy at Utah, whilst perched on a mountaintop, of all places. But when he meets the ditzy Samsara (Palmer), who has the cheesiest lines whenever she does get screen time (she is the sex quotient of the film, with the camera plying over her deep cleavage in lascivious detail) Utah pretty much forgets that he's a man on an FBI mission.

Point Break comes across as a string of admittedly amazing action sequences and sports feats with the rest of the film haphazardly built up around it. The logic of going base jumping and snowboarding to combat climate change is bizarre. One scene will remind you of Fight Club. Another, of The Beach. Ray Winstone, who plays a grizzled agent, could have deserved more screen time. If you bother to watch it at all, treat it like a showreel for extreme sports, as it's pretty unengaging from almost every other angle.
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Avg Users’ Rating 2.7/5 ( 131 users )
A
Adhyatm
And if you think that sounds like a marriage made in bad movie heaven, you’re halfway right. For while Break’s director/cinematographer Ericson Core is definitely the right man for the job on the action sequence front – Break features some pretty amazing stunts, most of which were gorgeously shot in a host of breathtakingly beautiful locales around the world – his skills in the directing department are sorely lacking at best and downright awful at worst. And I don’t just mean awful awful, I’m talking laugh-out-loud, howlingly-bad filmmaking at its bloody worst. Simply put, this needless, pointless Point Break remake is a total train wreck from start to finish.
A
Adhyatm
Remakes are tricky. Especially when you’re redoing a movie that is widely considered to be one of the best bad movies ever made, Kathryn Bigelow’s 1991 action thriller Point Break. Starring the late Patrick Swayze at the height of his dreamy, movie star Swayze-ness as the charismatic leader of a gang of surfing bank robbers and Keanu Reeves as a rookie FBI agent named Johnny Utah, the original Point Break has become something of a cult classic over the years. In fact, the film was so popular that it even spawned the interactive stage production Point Break Live! where a random audience member was selected from the crowd each night to read Reeve’s part from cue cards in all its wooden, dude-ish glory. And now, twenty-five years later, the movie that introduced the world to the blissed-out, stoner zen of adventure sports like surfing and skydiving has been remade by the cinematographer of The Fast and the Furious.
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Prabhakar Ch
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