The concept of a Point Break remake itself is not a bad one, and there are a number of ways in which this film could have been improved. It’d be unfair to suggest there are no heart in your throat moments, however the grand total of nearly 20 seconds of this (far less than you’ll get from this 3 minute video of Russian teens rooftopping) across a 114 minute runtime… trust me, you can do without it. It’s shocking that this film wasn’t dumped on VOD and the comically large budget of $105 million (not including advertising costs) wasn’t written off considering the shape of this film are in – it’s hemorrhaging money anyway. Some of the surfing shots – including the hilariously grey looking, way too over-the-top finale – look almost bad as the cut and paste work in Totally Unicorn’s “Cool Dads With Cool Sons” music video and the pivotal base-jumping sequence is littered with scenery clearly added in post-production. If what you’re after is extreme footage of amazing feats on the big screen, you’d do far better to open up YouTube and sit close to your monitor or television. Every single stunt scene is littered with fake looking, poorly rendered, unrealistic garbage (look no further than the cash in the cover image) and most shots of extreme behavior looks completely falsified. I’ve got to be frank: this film has some of the worst composited CGI of anything to come out in the past decade, made all the more offensive by claims from Core that there is “essentially no greenscreen, C.G.I. It’s a dumb plot, but solid enough to craft into an entertaining action flick – in fact the first 20 or so minutes of the film flirt with the idea, hinting that something worthwhile may come out of Core’s mess in a sort of burlesque, “this is garbage” sense – however the self-seriousness of the whole affair, coupled with the atrocious dialogue, terrible soundmix, absolutely cardboard acting, and woeful effects work make this near unwatchable, not to mention the ridiculously fluctuating pacing, rushed third act that feels like its missing scenes, and lacklustre cinematography that fails to even capture the poorly tattooed, muscley eye-candy that is our leads effectively.
After engaging with suspects Bohdi (Édgar Ramírez), Grommet (Matias Varela), Roach (Clemens Schick), and Chowder (Tobias Santelmann), 1 it becomes apparent that the four are following the “Osaki 8” – a set of eight extreme challenges to align the mind, body and soul so that one can reach a state of nirvana – pulling off heists on their way. As it stands, this iteration of Point Break effectively serves as a blueprint of exactly how not to reboot an action film – a frustrating reminder of the idiotic excesses and failures of the Hollywood hate machine.įollowing exactly the same plot trajectory (and virtually the same scene outline) as Kathryn Bigelow’s original (with the addition of a sequence justifying Johnny Utah’s entry into the FBI), Point Break follows Utah (Luke Bracey) – don’t worry, they make sure you know it’s a nickname because a last name like Utah is just ridiculous – as he infiltrates a gang of elite extreme sportsmen who pull off epic cash and diamond heists in their downtime, redistributing their riches amongst the “poorest communities” of the world. If Ericson Core was looking to create a big-budget sinkhole, Asylum level piece of garbage he’s onto a winner, if he was shooting for anything else, he’s fallen humorously short. Want a surefire way to fuck up a remake of one of the most entertaining, self-aware, and goofy movies of the nineties? Raise the stakes from point go, coat it in a layer of grit, have it take itself seriously, replace legitimate stunt work with CGI, and cast leads that completely lack any sense of charisma.
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