![]() But the editing clips any potential energy, hamstringing the excitement and making the action nothing more than serviceable.Īs the lead, Bracey is just as wooden as his predecessor but lacks the airhead charm Reeves brought to the role. Had Core and company simply let shots play out longer, these sequences could have excused the bland framework of the story. The footage is there, showcasing spectacular, perilous locations, like Venezuela’s Angel Falls. The approach gives these scenes a jumbled, jarring feel. But with few exceptions-the surfing scenes and flying suit sequence among them-the film flips away just when it starts to settle into a shot. ![]() The stunt work is nothing short of incredible people hurl themselves off of mountains like flying squirrels, dive out of airplanes, and hurtle themselves down the face of horrifyingly massive waves. They aren’t the rapid, lightning-fast cuts of someone like, say, Michael Bay, but there are simply more jumps than are necessary, and shots cut away when they should stay put. It’s not that Core, who also serves as cinematographer, doesn’t know how to shoot these scenes, it’s that the editing is off. The problem is that these sequences often fail to deliver. Everything else is sluggish, tepid filler designed to move the audience from one neckbreaking daredevil feat to the next. The film is about one thing and one thing only: the massive action set pieces. They embark on a series of eight trials designed to honor the Earth, give back to the world we’ve taken so much from, and ease the copious guilt of their first-world privilege.Ĭranking things up to the proverbial 11 is the mode of operation for Point Break 2015. This time around the scope and scale are amplified instead of a gang of surfers who rob banks to finance their own version of the endless summer, the crew operates on an international stage with more of a Robin Hood, take-from-the-rich-give-to-the-poor approach. The plot remains the same: A young FBI agent trying to prove himself, Johnny Utah, must go undercover to catch a gang of extreme sports enthusiast criminals and gets in too deep thanks to the mysterious, charismatic leader, Bodhi. The update strips away the campy fun, imminently quotable dialogue and the bromantic relationship between FBI Agent Johnny Utah (Keanu Reeves in the original, Luke Bracey in 2015) and Bodhi (a role originated by Patrick Swayze and taken up by Edgar Ramirez, who tries to infuse the character with smolder, though the sparks fail to catch). Watching director Ericson Core’s new version, I couldn’t stop myself from thinking, “What’s the Point (Break)?” It accurately sums up my feelings about the movie.Ĭore’s film is a flat, joyless rendition of future Oscar-winner Kathryn Bigelow’s original. It’s almost impossible to avoid a terrible pun about the remake of the 1991 cult action favorite Point Break, so apologies in advance.
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