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75It is encouraging that well-crafted thrillers are still being made about characters who have dialogue, identities, motives and clean shirts.
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75Implausible yet enjoyably diverting thriller.
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75A well-constructed and genuinely tense thriller.
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75Michael Douglas plays US Secret Service agent Pete Garrison, and his jaw has never seemed tighter.
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70An unassuming thriller, a nifty piece of genre filmmaking without frills or self-importance. It's a throwback, if you will, to the days of B pictures, when formula movies were made with a maximum of skill and a minimum of pretense.
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63Director Clark Johnson has an energetic style of filmmaking and a facile way with stunts and chase sequences. The result is a fairly stylish action thriller. We've seen plenty of suspense films in which a seemingly good guy is framed, so it helps when a director can pull off a few cinematic tricks to keep audiences on their toes.
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63Director Clark Johnson and screenwriter George Nolfi (adapting the novel by Gerald Petievich) do an excellent job of setting things up and getting the story underway. Unfortunately, some of their hard work is undone during the movie's final third.
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63Ultimately all of the ado about men in shades and dark suits running around shooting and shouting at each other comes to a satisfying, if predictable, conclusion.
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60A slick enough thriller about a presidential assassination attempt. It is also a rather mechanical, soulless affair that avoids politics or anything else that might clearly define who these characters are and why we should care.
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58We have reached a point in history when an ordinary TV show is often as good as or even better than an ordinary movie. And movies don't come much more ordinary than The Sentinel.
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58No, it's not the big screen version of "24." For one thing, Sutherland is in the wrong role.
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58The Sentinel moves quickly and never becomes a bore. It does become something of a cartoon, though, which proves a major letdown for a movie that aims for something far more intelligent.
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Amid the nervousness Douglas and Sutherland do what they can to enliven their warring stereotypes. And now and then, blessedly, The Sentinel nudges toward camp.
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50The Sentinel isn't nearly as slick as it must have looked on the page. Those zingers are perfect fodder for a movie preview, but they just don't lead anywhere interesting on-screen.
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The Sentinel is so bland that it wants only to be as good as TV. Not as good as good TV, like "24." It merely aspires to be the Regis Philbin of D.C. thrillers. It isn't trying to dazzle you with style, complexity or intelligence.
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50Eva Longoria brings a crisp swagger and fluent Spanish to her role.
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50Douglas and Sutherland do crackling hostility with devilish glee, and the fireworks are nothing if not entertaining.
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50The Sentinel isn't an entire season of ''24" smushed into a bland two hours of movie? Does Kiefer Sutherland know?
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50A contrived and tepid thriller that insists on wanting to interest us in its main plot -- the usual nefarious plan to assassinate the leader of the free world.
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50The movie gives away its shifty-eyed villain almost immediately. What it doesn't give away is why he betrayed his trust, who wants the president dead or what they hope to gain by killing him.
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50Always an intriguing (though sometimes unpolished) actress, Basinger has softened the rough edges over the years to become an extremely watchable performer who deserves better roles than those in which she appears onscreen.
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50Sentinel works overtime to suggest what a thrill-a-minute world its characters inhabit; but only during the last 20 minutes does the movie's pulse (or ours) raise above a flatline. The actors look uniformly unhappy to be there - except for Basinger, who seems lost in a lithium haze.
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50A half-hearted exercise in political paranoia, The Sentinel unravels its wrong-man scenario with business-like efficiency and an impressively jittery visual scheme, but falls far short of providing visceral or emotional thrills.
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50Director Clark Johnson (S.W.A.T.) has a flair for action, which compensates for the flattening effect of Gabriel Beristain's cinematography.
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Looking back, 1993 was a golden age for thriller cinema. That was the year Hollywood hatched both "In the Line of Fire" and "The Fugitive," the two obvious and way superior antecedents for the very humdrum B-movie mash-up The Sentinel.
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40Plays like a 108 minute episode of Hawaii 5-0, minus the exotic locale.
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40The screenwriters seem to have meticulously researched the inner workings of the White House by watching DVDs of "The West Wing," but, despite their hard work, casting sinks the film. With Longoria and Sutherland onboard it feels like an uneasy marriage of "24" and "Desperate Housewives."
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40Sentinel is a medium-dumb thriller that starts out with momentary promise but gets progressively sillier.
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Brought low by its premise and rendered idiotic by its subplot, this alleged political thriller spells momentary doom for star Michael Douglas.
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30The question is why. Why would a star of Michael Douglas's stature and intelligence attach himself to a Washington thriller as deeply ridiculous, suspense-free and potentially career-damaging as The Sentinel?
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30I can't find much slack to cut the film, except to say that it's a potboiler cooked in an upscale Teflon pot.
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User score distribution:
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Positive: 12 out of 20
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Mixed: 4 out of 20
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Negative: 4 out of 20
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TonyB4
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PaulO.7
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BradC2Bad movie. Went in thinking I would see something intelligent and all it was was Hollywood tripe.