What’s a “good-bad” movie? It’s the kind of flick that might have you cackling, hollering or groaning, one that is not necessarily great cinema but is great fun. It’s highly watchable even though — or maybe because — it’s memorably ridiculous. And it always has at least one element that pushes it into absurd territory.

When I started this series one year ago, I was sweating through a serious Patrick Swayze dilemma: Is “Road House” or “Point Break” the pinnacle of a thoroughly over-the-top, delightfully nonsensical, infinitely rewatchable movie classic? In the end, “Road House” reigned. But there’s no better way to mark this anniversary than to revisit Kathryn Bigelow’s high-octane SoCal surfer-dude crime thriller.

Nearly 20 years before winning two Oscars for “The Hurt Locker,” Bigelow accomplished in “Point Break” what she’d become famous for: energetic, hyperkinetic sequences complete with hand-held cameras and P.O.V. angles, and subverting expectations around masculinity, especially in action films.

In “Point Break,” Keanu Reeves stars as Johnny Utah, a by-the-book former college quarterback turned rookie F.B.I. agent who goes undercover to bust a ring of surfers who’ve been robbing banks while cosplaying as U.S. presidents.

But this square is quickly seduced by the waves and the king of said waves: Bodhi (Swayze), the charismatic, thrill-seeking leader of this band of surfer-criminals who is somehow also a local guru with an anticapitalist bent (“the system that kills the human spirit,” as he puts it).

Together, Swayze and Reeves make this movie unforgettable, despite a plot as watertight as a sieve.