#Keanu reeves surfer movie movie
#Keanu reeves surfer movie crack

Or there's the fact that the clue that finally identifies them is a tanline on a surfer's arse caught while he mooned the CCTV - a fatal, ahem, crack in their plan.īut Bigelow gets serious when it comes to the octane quotient. Hmmm, it'll probably be a storm that comes every 50 years Keanu). what's that?' Reeves inquires at one point. (Not that the dumbness is always so deliberate: 'The 50 year storm. When a colleague takes the piss out of the whole plan by performing a frighteningly accurate Ted Logan impression, he simply looks on confused. There's the playfulness of casting Reeves as a faux surf dude 'Why can't I just carry this thing and look dumb?' he enquires of his first surfboard. It's not above poking fun at itself either. This is the California dream at the height of its potency. Everything looks gorgeous, from the crashing, sapphire waves photographed through a headlight-illuminated beach football game, to a billow of orange dust past a roadside Harley.

#Keanu reeves surfer movie movie

Donald Peterman shoots the movie with the polished look of burnished chrome. But, like its studly young cast, Bigelow's direction is primarily something to look at - a collection of gleaming, sundrenched surfaces. your balls are about this big' being one of the more coherent examples of screenwriter W. It's twenny-five straight down and maaan. The plot, such as it is, makes less sense than much of the dialogue ('Maaan, it jacks up, dropped down into the pit.

Point Break rides the crest of its own ludicrous wave with loopy abandon, continually threatening to wipe-out but always just catching the curl at the last moment. Things get gnarley however when her adrenaline-junkie pals, led by Bodhi (Swayze), turn out to be the beach-bum hoods and Utah begins not only to understand, but also to yearn for their seductive, nomadic lifestyle.

In order to do this he must infiltrate the secretive world of the surf dude, and as a consequence spend a fair amount of time in figure hugging wetsuits or the bed of his dudette tutor, Tyler (Petty). Johnny Utah (Reeves) is the ex-star quarterback FBI agent gone undercover to bust The Ex Presidents, a band of marauding surfers who finance their summers catching waves worldwide by robbing banks. Here, as in her vampire western Near Dark, two genres are crashed together: the surf movie and the heist-thriller. Instead it went to Bigelow whose previous films had demonstrated an impressive visual style and a taste for balletic, explosive violence. It should be no surprise that Point Break was originally conceived as a project for that other proponent of the cinema du look Ridley Scott. This, we discern, is going to be a film about violence, and violence is going to be extremely sexy.

Intercut is Keanu Reeves in a rain-drenched T-shirt rolling around on an FBI shooting range, blowing the crap out of pop-up targets with a handgun that sounds like an anti-tank cannon in a portaloo while our anonymous surfer performs graceful curls and dives as water washes across the screen. The title drifts across a shot of a gently rippling ocean surface before we move into crystal slo-mo shots of a lone surfer riding the Pacific waves to Mark Isham's portentous score. Kathryn Bigelow, true to form, sets out her store from the opening sequence of Point Break.