88

Chicago Tribune

By Dave Kehr
At her best—and even in a hand-me-down project like Point Break—Bigelow is a uniquely talented, uniquely powerful filmmaker. Where the male action directors are still playing with toys-with dolls and models and matte shots-Bigelow has tapped into something primal and strong. She is a sensualist of genius in this most sensual of mediums.
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88

Chicago Sun-Times

By Roger Ebert
The plot of Point Blank, summarized, invites parody (rookie agent goes undercover as surfer to catch bank robbers). The result is surprisingly effective.
Full Review
75

San Francisco Chronicle

By Mick LaSalle
The dialogue stretches are just pauses between the action scenes, where the director gets to show her stuff. [12 July 1991, p.F1]
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75

St. Louis Post-Dispatch

Point Break is a perfect example of the contemporary "B" movie. And, like a lot of the old B movies, those cheap thrillers of the 1940s and 1950s, Point Break has considerably more raw energy than almost all of the higher-priced products. [12 July 1991, p.3F]
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70

The Hollywood Reporter

By Duane Byrge
In all fairness, this swill's swells are in the action: car chases, foot chases, wipeouts, shootouts, brawls and falls -- and they're terrific. Director Kathryn Bigelow pumps up the action to, indeed, full adrenal dimension. [12 July 1991]
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63

Slant Magazine

In terms of Hollywood history, Bigelow's film is the perfect document of its time.
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63

Rolling Stone

By Peter Travers
What saves Point Break from wipeout is Kathryn Bigelow's direction. Though the film lacks the formal beauty and allure of her Near Dark and Blue Steel, Bigelow keeps the action percolating in high style.
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50

Boston Globe

By Jay Carr
When the action sequences move into the sky-diving stuff, they give you a real rush.... Otherwise, though, Point Break is all wet. Too bad, because you always get the sense in a Kathryn Bigelow outing ("Near Dark," "Blue Steel") that she's trying to push a genre into new places. [12 July 1991, p.54]
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50

Miami Herald

Point Break has some eye-catching visuals in its frenetic action sequences, but even the slow-mo surfing gets tedious. It's like being trapped in a soft-drink commercial. [12 July 1991, p.G5]
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50

USA Today

By Mike Clark
Point Break points up inherent limitations in the "star" rating system. Its purely visceral material (surf sounds, skydiving stunt work, a tough indoor shootout midway through) are first-rate. As for the tangibles that matter even more (script, acting, directorial control, credible relationships between characters), Break defies belief. Dramatically, it rivals the lowest surf yet this year. [12 July 1991, p.4D]
Full Review
58 out of 100
Mixed or average reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.