"One of the most numbing things about many movies today is how wildly out of scale they seem to go: the way visual and technical virtuosity is juxtaposed with silly, vacuous stories. "Point Break" (citywide) may be a prime example. It's a movie full of golden, liquid oceanside scenes, aerial ballets, Steadicams flying through packed offices and corridors, massed towering waves crashing down at us—and violent car-crash and gun-battle pyrotechnics splattering all over the screen in bright, violent, bloody shards. It's beautiful, but it's dumb."

"Kathryn Bigelow once referred to Point Break as a “wet Western.” If the cowboy prides himself on conquering new frontiers, on taming the wilderness, the surfer prides himself on giving himself to it, to becoming one with it. At Point Break’s end, Johnny Utah finds Bodhi on an Australian beach where the legendary 50-year storm takes place: “twice a century the ocean lets us know just how small we really are.” Johnny has been hunting Bodhi all this time. It’s their final showdown, and they fight as the storm rages on. Johnny handcuffs Bodhi to him as the authorities arrive. But Johnny decides to let him go, honoring Bodhi’s request to ride one last wave. And the ocean seems bluer with Bodhi in it. Johnny looks at his badge, then throws it into the ocean, a move mirroring Clint Eastwood’s Harry Callaghan tossing his badge in Dirty Harry. But Johnny raises a middle finger figuratively to Harry’s brutal machismo, and to rules, control, law and order. Johnny Utah is not quite ready to give himself over to the 50-year storm, but he’s done with the system. He loses his badge, and he gains a soul."

"The ocean shimmers behind Point Break’s credits, glowing gold. The words Point and Break cross over, merging and dissolving, and so do the names Patrick Swayze and Keanu Reeves. Patrick Swayze’s Bodhi is a silhouette surfing in slow motion against a soft-blue sea as luminous as a Romantic painting, a mythic figure out of time. Meanwhile, Keanu Reeves’s Johnny Utah loads a shotgun in a gray downpour. He fires at paper targets, and an FBI agent clicks a stopwatch. With this opening sequence, Kathryn Bigelow tells us that the very different worlds of an FBI agent and a surfer will collide, that these two men are destined to meet and to change each other."

"Among the film's especially energetic sequences are a furious two-man chase on foot through a heavily populated neighborhood, shot vigorously with a hand-held camera; sustained and amazing sky-diving scenes guaranteed to make the palms sweat, and a police raid on a house that becomes a wild melee and turns a lawnmower into a potentially deadly weapon. This last episode, and others like it, prove definitively that testosterone-crazed movie violence is by no means the sole province of male directors. Especially fiery and scene-stealing is Gary Busey, as the gruff Nick Nolte-style wild man who is Johnny's F.B.I. partner and foil. Mr. Swayze, more tranquil, is best when showing off his proficiency for glamorous athletics and least good when taking the screenplay seriously. When another character says, of Mr. Swayze's Bodhi, "He's got this gift for blankness," the thought seems all too true."

"This turns out to be one of those beach bum-cosmic high armed robberies with which Southern California F.B.I. agents are no doubt constantly plagued. And Johnny turns out to be the perfect candidate for the job of surfing detective. He looks good in a wet suit. He figures out how to extract information from a nice-looking female surf expert (Lori Petty). Pretty soon he is showing up at the office saying things like "Caught my first tube this morning, sir." He totes his surfboard with him to prove the point."

"Feel what the wave is doing. Then accept its energy. Get in sync. Then charge with it."

"Bigelow and her crew are also gifted filmmakers. There's a footchase through the streets, yards, alleys and living rooms of Santa Monica; two skydiving sequences with virtuoso photography, powerful chemistry between the good and evil characters, and an ominous, brooding score by Mark Isham that underlines the mood. The plot of "Point Blank," summarized, invites parody (rookie agent goes undercover as surfer to catch bank robbers). The result is surprisingly effective."

"The bodhi tree, according to the Buddhists, is the tree beneath which one finds enlightenment. That is not exactly how it works with Bodhi, the surfing bank robber who is the existential hero of "Point Break," but he is such a persuasive character that a young FBI agent falls under his spell. Or maybe it is Southern California itself that attracts the agent - that land of surf and skydiving and strange karma, so seductive to a square football hero out of Ohio."

"This stuff was so revolutionary that Hollywood took almost a decade to catch up. In some respects, Point Break’s effect on pop culture was immediate: it brought extreme sports into the mainstream and made Reeves the 1990s’ defining action star, just as Bigelow predicted. But it was only ten years later, with the success of The Fast and the Furious – a car-based Point Break remake in all but name – that brotherly love and beautiful men had become ingrained in action-movie culture."

"What’s more, the male-on-female perving is staged as a groan-worthy gag. Johnny is all but tripping over his tongue as he spies on Tyler through binoculars while she changes out of her swimsuit. The film’s admiration for Reeves’ and Swayze’s bodies, on the other hand, is subtler – and coded into every shot. Look out, for instance, for the almost indiscernible drop into slow-motion in the sequence where Johnny showers at the beach: it’s one of the stealthiest phwoars in modern cinema. It’s unlikely that a male director would have had the nerve for this – or that two more established male stars, with hard-won hard-man reputations to defend, would have thrown themselves into it with quite so much gusto. In a promotional interview, Swayze described the film as being miles from “slap-ass, macho, jokey crap…I wanted to play it like a love story between two men.” In 80s action movies, the male body is a weapon of war. Point Breakturns it into a source of pleasure. And pleasure is what Point Break’s leads are chasing. Whether surfing, skydiving, playing American football or robbing banks in rubber masks, it’s all in pursuit of what Tyler purringly calls “the ultimate ride”: a thrill so big it recalibrates your worldview."

"It's not about good guys and bad guys. It's a little more complicated when your good guy-your hero-is seduced by the darkness inside him and your 'villain' is no villain whatsoever, he's more of an anti-hero."

"In California, you can party, have sex and surf, before it's time to go to work."

"27 banks in three years - anything to catch the perfect wave!"

"100% Pure Adrenaline."

"I'm so hungry I could eat the ass end out of a dead rhino, I should have had you get me three of these things!"

"Utah, get me two!"

"I am an F.B.I. Agent."

"I hate this Johnny. I really do. I hate violence. That is why I had Rosie do this, I could never do that man, I could never hold a knife to Tyler's throat, she was my woman, we shared time. But, Rosie, he's like a machine. He's got this gift of blankness. Once you set him in motion, he will not stop. So, when three o'clock comes, he will gut her like a pig, and try not to get any on his shoes and there is nothing I can do."

"You're sayin' the FBI's gonna pay me to learn to surf?"

"If you want the ultimate rush, you've got to be willing to pay the ultimate price. It's not tragic to die doing what you love."

"Bojesse Christopher - Grommet"

"Jesus, I open my mouth, the whole world turns smart."

"Toshirô Obata - Tatsu"

"François Chau - Shredder"

"Ernie Reyes Jr. - Keno"

"Kevin Clash - Splinter (voice)"

"Kenn Scott - Raphael"

"Leif Tilden - Donatello/Foot #3"

"Michelan Sisti - Michaelangelo/Soho Man"

"David Warner - Professor Jordan Perry"

"Mark Caso - Leonardo/News Room Staff"

"Paige Turco - April O'Neil"

"The film’s sequel, Teenage Mutant Ninja Turtles ll – The Secret Of The Ooze, arrived at the BBFC in April 1991 with a PG request. The BBFC Examiners acknowledged that this was a much milder film than its predecessor, and one report notes that "most of the violence-level here is ‘U’ rather than ‘PG’, though quantitatively there is enough to justify the PG requested by the company – just!" However, BBFC Examiners also realised there was potentially a problem with some of the violence, in particular the use of improvised props resembling chainsticks or nunchaku: "In the credits sequence in Reel 1, chainsticks are wielded (or seem to be) after a shot of sausages hanging from the butcher’s rail. Since there is real confusion between chainsticks and sausages this sequence needs to be carefully checked before cuts (if any) are listed. Ditto a sequence in Reel 2, where April tries out a pair of chainsticks; could they be sausages? If so, we would look pretty foolish (right Charlies, in fact) if we cut them!" Another report states the then BBFC policy to remove these weapons, but warned that pragmatically it might be unwise to remove sausages used to resemble the weapon. After contacting the distributor, the BBFC was reassured that all the sequences ‘involved sausages not sticks’. However, BBFC Director James Ferman thought there was still potential for the sequence to showcase chainsticks-type weapons, and the sausages would look like these weapons ‘to any streetwise 8 year old’. The cuts list therefore included the following request to minimise any glamorisation of easily accessible weapons: "After turtle takes down sausages and uses them as a flail. Reduce to minimum dazzling display of swinging sausages indistinguishable from chainsticks" The Examiner reports for the video release include some criticism of the decision, with one report noting that "the sausage/chainstick confusion makes his [Ferman’s] cuts list a tiny bit ludicrous to read"."

"GO NINJA, GO NINJA GO, GO NINJA, GO NINJA GO . . . . GO GO GO GO"

"Back by bodacious demand."

"Cowabunga, it's the new turtle movie."

"It wasn't slime, it was ooze. And there's more of it out there."

"April, it's Mikey, I'd just like to say HELLO-OO-OO-OO! Mwah, mwah, mwah, mwah, mwah--"

"Ninja pizza?"

"OK, I got it. "Frere Jacques". [starts singing "Frere Jacques" by himself]"

"Shredder, you gotta listen to reason! You’re gonna destroy us all!"

"Charlton Heston — AFFA Football Commissioner"