Point Break is a delight. Keanu masters the actions/unintentional comedy/hair of action movies, and you can argue that he did as much to develop the genre as anyone. For those of you who are thinking about Die Hard right now, watch the first 25 minutes of both movies. Die Hard is a terrific film, but less constant-action than Point Break. And those who are thinking of the Fast and the Furious, it is quite clear that it is ripping off Point Break — with a hat tip at the same diner Johnny meets Tyler. Roger Ebert gave it 3.5 stars. And says this about Kathryn Bigelow, the director, “Bigelow is an interesting director for this material. She is interested in the ways her characters live dangerously for philosophical reasons. They aren’t men of action, but men of thought who choose action as a way of expressing their beliefs.” She also directed Blue Steel, which is one of the scariest movies I saw in the 80s. Even scarier than Gremlins.
Ebert explains that we ought not dwell on the plot of the film. If we can suspend such summaries we are led into the delight of Point Break. A friend of a friend once performed Point Break in an Improv studio. Every actor was a pro except the one who played Keanu — that one was from the audience. It worked like a charm. Rather than mocking, this can perhaps shed some light on the fact that everyone in this film is absolutely going for it.
Gary Busey is terrific. He is talking shit about Utah, who he has not yet met, with a blindfold on before undergoing an odd test for FBI agents back in LA in the early 90s. The iconic line of the scene, almost never relevant in my own life is, “Welcome to sea world kid”. He’s funny, smart, doesn’t like his boss (“Harp”, played by John C. McGinley, who has done a LOT of voice work, and was a delight in Scrubs), and receives Keanu’s energy at the beginning of the film to propel them towards the Ex -Presidents.
In their first investigation, Busey has a blue Parker Jotter. You see it about five times. It does not show up for the rest of the film. No way the hero has or needs one — we enjoy his role in the film, but there isn’t a shred of nobility to him that isn’t obvious, he’s arrogant as the day is long. The magic centers around Utah and Bodhi. Bodhi’s amoral, but compelling, leadership and drive. “This was never about money… it is about us against the system!” With Busey balancing their wildly ridiculous energy. Just enough madness. And meatball sandwiches.
Busey is the key to this film staying an action movie, and not becoming a buddy cop movie. “Utah! Get me two!” They work together well, but will rarely go get a beer after work. Busey keeps the tension right where it should be — between Utah and Bodhi — never letting their boss take up too much airtime. Quickly dispatching the violent naked women of war-child’s gun house, and stealing Johnny from the crime scene he participated in.
Welcome to Sea World indeed.
Jotter in Film 