In The Sentinel the president (David Rasche) faces a whole new threat: the Secret Service. One of its most respected agents Pete Garrison (Michael Douglas) is assigned to take care of the first lady (Kim Basinger) and does he ever! He has an affair with her which while utterly absurd sets the real story in motion. He receives steamy photos of the two in a blackmail scheme that he learns is part of an assassination attempt on the Prez for which he’s being framed. The agent spearheading the investigation David Breckinridge (Kiefer Sutherland) grows skeptical of Garrison whom he thinks had an affair with his wife. Before long Garrison’s on the lam in true “it wasn’t me it was the one armed guy” fashion. He’ll stop at nothing to clear his name and bring the bad guy(s) to justice even if it means hooking up to the Internet from a gas station (?) via his Dell computer the tech brand apparently most trusted by the Secret Service. Michael Douglas is back and…the same as ever. He loves to play his roles safe and it doesn’t get safer for him than the urbane almost-over-the-hill pro who yells a lot. He has a stranglehold on baby boomers who’ve stuck with him through thick and Catherine Zeta-Jones and they won’t be disappointed. Sutherland--the son of over-actors if Douglas is the father thereof--acts like he was filming on his 24 set which will make his devoted fans just as happy. The actors engage in one shouting match and it’s as engrossing as it is hilarious surprisingly. There should’ve been more of that dynamic since it’s apparently why people like these two. Eva Longoria appears in her first big movie to date and while she shows promise she’s dug herself a deep (pigeon)hole with Desperate Housewives: Fans long for a scantily clad drama queen not a docile fully clothed rookie agent. Think Sandra Bullock’s first big film role: Demolition Man. For a brief moment The Sentinel entertains us with an interesting and perhaps topical notion that a Secret Service agent with clear access to the president could be plotting an assassination. But then that’s where all the “entertaining” parts of the movie ceases of course. S.W.A.T. director Clark Johnson is at the helm here and he does up Washington D.C. Hollywood-style (in addition to giving himself a brief but important role in the film). Johnson tries to insert Sentinel into his S.W.A.T. template but S.W.A.T. for starters was R-rated and Sentinel should’ve been. When it’s not tripping over its implausibility The Sentinel trips over its predictability thanks to all of its more original predecessors from which it pilfers. And there’s so much product placement that if the film doesn’t do well at the box office we could see a ripple effect throughout the entire economy.
When Alien was released almost a quarter of a century ago moviegoers lapped it up to the tune of $78.9 million--enough to make it the second highest grossing film of that year. Renowned film critic Pauline Kael who wrote about the Alien phenomenon in The New Yorker noted: "It was more gripping than entertaining but a lot of people didn't mind. They thought it was terrific because at least they'd felt something; they'd been brutalized." Now in an era utterly saturated with the genre the film still assaults audiences on a level that has yet to be matched. The story in Alien: The Director's Cut remains the same: seven crewmembers of the commercial ship Nostromo are awakened from their cryo-sleep capsules halfway through their journey home to investigate an S.O.S. distress call from an alien vessel. Unbeknownst to crew the distress call is actually a warning. When three crewmembers leave to investigate the abandoned ship they unsuspectingly allow an alien life to board the Nostromo a galactic horror that begins to kill the crew one by one--leaving only one exceptionally tough woman.
Ellen Ripley (a very young Sigourney Weaver) who leads the fight for survival against the alien has to date returned for three sequels: James Cameron's 1986 Aliens which earned Weaver an Oscar nomination for Best Actress David Fincher's 1992 Alien3 and Jean-Pierre Jeunet's 1997 Alien Resurrection. For fans who have followed Ripley's evolution from a by-the-book crewmember to a hybrid half-alien half-human clone it's exciting to revisit the roots of her character and understand what fuels her revenge. The rest of the ensemble including Tom Skerritt as Captain Dallas Veronica Cartwright as Lambert Harry Dean Stanton as Brett John Hurt as Kane Ian Holm as Ash and Yaphet Kotto as Parker seems just as appropriately cast today as it probably did then and even 25 years later the crew of the Nostromo doesn't look like a '70s interpretation of futuristic space workers.
To revisit the set of Alien's Nostromo director Ridley Scott (Matchstick Men) and his team of archivists sifted through hundreds of boxes of film footage discovered in a London vault. From this material unseen in almost 25 years Scott selected new footage which then underwent digital restoration matching it to Alien's newly polished negative. The result is six minutes of additional footage which goes to show how little improving the original film needed. The most palpable addition is a scene in which Ripley stumbles upon "the nest " where she discovers that her crewmates have been cocooned by the alien. But the rest of Scott's additional footage is so subtle that even diehard Alien fans will have a difficult time pinpointing the new material which consists mainly of new shots of the slimy and metallic alien. The Director's Cut also features a brand-new six-track digital stereo mix which strengthens the film's slow but intense cadence with its pulsating beats. But remastered or not the film remains as gripping today as it was when it was first released in 1979.