A Secret Service agent is framed as the mole in an assassination attempt on the President. He must clear his name and foil another assassination attempt while on the run from a Secret Service Protective Intelligence Division agent.
Special Agent Pete Garrison is convinced that a Neo-Nazi Aryan Disciple has managed to infiltrate the White House. When a White House Agent is murdered, Garrison is framed and blackmailed over an affair with the First Lady Sarah Ballentine. He is relieved of his duties, but Garrison won't stop in trying to prove his innocence, and save the life of the President. While attempting to uncover the person behind it all, he comes into confrontation with his protege, Agent Breckinridge. Written by
"The look of this movie is one of kinetic energy," said director Clark Johnson. "That's why we used many cameras and lots of moving shots." Johnson and his director of photography, Gabriel Beristain, previously collaborated on S.W.A.T. (2003), in which they created spectacular depictions of Los Angeles in California, USA. On The Sentinel (2006), they merged the look of a big action thriller with the glamour of the White House, and a very elite law enforcement organization. "So much happens within that world," said Beristáin. "We wanted to give that world a visual style, a high beat, visual staccato. "We worked out a progression to allow us to create and have our lighting and cameras react to the action. It's a well-protected world at the beginning, with warm tones, elegant and classical camera movement. As the story becomes more ominous and nightmarish, our cameras and lighting respond to it, becoming cooler and more hectic in their movements. There are some overlaps of course. It's not a mechanical, but a philosophical process. We are thinking in terms of audience emotion. We don't want the audience to guess; we want to keep them wondering. Camera movement should not give away the story." See more »
When approaching the Marine One helicopter, the President salutes the marine at the foot of the steps leading into the helicopter, and the marine returns the salute. This is the complete reverse of what should happen - the marine should salute the President, the Commander-in-Chief, not the other way round. See more »
There was some hesitation from my part about what this movie had to offer. For starters, the casting didn't seem right. Kiefer Sutherland had already done very well in "24" and the preview didn't seem to offer anything challenging to him or the audience. Eva Longoria appeared out of place, and the rest didn't seem very interesting.
When the film finally ended, I was not completely displeased for I had seen a decent thriller that could have been much better, had the responsible parties taken a little more care to watch for the narrative gaps and given a little more care to character development. We have seen threats of this type before, and that made the main conflict much more challenging to the writers. As an audience, we don't want to sit through the same old story again. We want to see something different, be thrilled and entertained.
There is nothing wrong with the casting. From Kim Basinger's delicious first lady. She carries herself with enough grace and sex appeal to make the part memorable. Michael Douglas has been and done that before. Unfortunately, the president is much of a non entity to even care about his fate. Sutherland rehashes his "24" tough guy approach with enough power to make it big enough for the big screen, and Eva does a passable job, as the newcomer.
Don't expect as many twists and fireworks as some of the established classics ("North by Northwest" and "The Fugitive" come to mind). Leave your expectations outside and enjoy the ride for whatever it might be. It's o.k.
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