The Sentinel (2006) |
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| Actors | |
| Michael Douglas | Pete Garrison |
| Kiefer Sutherland | David Breckenridge |
| Kim Basinger | 1st Lady Sarah Ballentine |
| Eva Longoria | Jill Marin |
| Paul Calderon | Deputy Director Cortes |
| Kim Basinger | First Lady Sarah Ballentine |
| Chuck Shamata | Director Overbrook |
| Blair Brown | National Security Advisor |
| David Rasche | President Ballentine |
| Kristin Lehman | Cindy Breckinridge |
| Raynor Scheine | Walter Xavier |
| Martin Donovan | William Montrose |
| Ritchie Coster | The Handler |
| Clarque Johnson | Charlie Merriweather |
| Conrad Coates | Agent Hauser |
Michael Douglas
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This eldest son of legendary Hollywood actor Kirk Douglas eventually developed into a legitimate double threat. His track record for selling movies is unrivaled by any of his actor-producer peers, but his early years gave little indication of the power he would one day wield within the industry. Introduced to filmmaking on the sets of his father's films, Michael Douglas came to acting reluctantly when forced to pick a major his junior year at UC Santa Barbara and began working painfully at it, prompting Kirk to say, "Michael was terrible" (Us, August 1998) after seeing him in a college production of "As You Like It". Still, the younger Douglas was handsome, and there was in his eyes, his jaw, his hairline and his voice something of his father, intangible, heroic qualities that would later enable him to enjoy great success as flawed, venal characters without totally alienating audience affection. A self-professed "hippie", he began in some fairly typical features, portraying idealistic youths confronting the issues of the day ("Hail, Hero", 1969; "Adam at 6 A.M.", 1970; "Summertree", 1971), and upped his profile as co-star (with Karl Malden) of the TV cop drama "The Streets of San Francisco" (ABC, from 1972 to 1975).
Douglas was little more than a blip on the radar screen when he hit a home run with his feature producing debut, Milos Forman's "One Flew Over the Cuckoo's Nest" (1975), adapted from the novel by Ken Kesey. His father, who had played the lead role of Randel Patrick McMurphy on stage, had owned the film rights for a decade, hoping to reprise on celluloid the feisty misfit who inspires his fellow "loonies" to assert themselves, but the son persuaded Dad to lose that dream and allow him to get the picture made. The results were runaway box-office returns and a sweep of the top five Oscars, the first time that had happened since "It Happened One Night" (1934). Douglas shared Best Picture honors with Saul Zaentz, and Kirk made a lot of money and was undoubtedly proud, though it must have hurt to see his TV actor son taking home an Oscar while his own cupboard was bare. Douglas then joined forces with Jane Fonda's IPC Films to co-produce (as well as star alongside Fonda and Jack Lemmon) "The China Syndrome" (1979), which benefited greatly from the fortuitous timing of the near meltdown crisis at the Three Mile Island nuclear power facility.
Until "Romancing the Stone" (1984), Douglas was more highly regarded as a producer than an actor, but his superb portrayal of the amiable, smug adventurer Jack Colton, a sort of black sheep Indiana Jones, began to change all that. Essentially a feminist take on "Raiders of the Lost Ark" and its ilk, the film profitably teamed him with Kathleen Turner and Danny De Vito for a rollicking, fast-paced comedy adventure. After the trio made the inevitable, successful sequel, "Jewel of the Nile" (1985), Douglas found himself for the first time on the annual exhibitors' poll of the Top 10 box office stars (at ninth), even though his preoccupation with producing responsibilities on both films had allowed Turner and De Vito to walk off with the pictures. (In fact, Douglas has rarely dominated a movie, with perhaps the exception of 1987's "Wall Street" and 2000's "Wonder Boys". Despite his $20 million price tag, he's more a complementary player who allows stronger actors to drive the vehicles.) When De Vito's black comedy of divorce, "The War of the Roses" (1989), reunited the three again, he could simply act his part in the satiric commentary on "yuppie" materialism.
If he was solid material lacking star quality before 1987, Douglas finished that year as a potential icon like his father, having discovered himself as an actor. Even though "Wall Street" was more about the Charlie Sheen character, he won the Best Actor Oscar for his infinitely more intriguing Gordon Gekko, the wonderfully smarmy and arrogant corporate raider and high-rolling epitome of 80s excess and greed. "I don't think Gekko's a villain," Douglas has said (quoted in David Thomson's "Biographical Dictionary of Film"), giving some insight to the actor-producer. "Doesn't beat his wife or his kid. He's just taking care of business. And he gives a lot of people chances." That same year, his attempt to get away with adultery jeopardized his family in "Fatal Attraction", but audience's quickly forgave his human frailty to root against the spurned stalker Glenn Close. Perhaps even more with "Fatal Attraction" than with "Wall Street", he had found a role that resonated with audiences, the morally lazy and thrill-seeking Everyman caught in the spider's web.
In 1988, Douglas formed Stonebridge Entertainment, Inc., which produced Joel Schumacher's "Flatliners" (1990) and Richard Donner's "Radio Flyer" (1992), and dabbled in an attempt to revive the failed Victorine Studios in Nice, France. He continued to court controversy in his choice of movies. If the Glenn Close part had been unsympathetic, the bisexual, man-eating Sharon Stone role in "Basic Instinct" (1992) brought a firestorm of criticism from the gay community, but audiences flocked to see Douglas drawn to the flame in Paul Verhoeven's stylish-looking but dramatically uninspired thriller. He also scored at the box office as a nerd gone berserk in Schumacher's "Falling Down" (1993), earning the hostility of reviewers who called the movie "wildly stupid" and "morally dangerous." Douglas produced "Made in America" (1993), a successful comic pairing (off-screen and on) of Whoopi Goldberg and Ted Danson before succumbing to a woman once again (this time Demi Moore) in "Disclosure" (1994). Based on Michael Crichton's best-selling novel, the film told the story of a male executive sexually harassed by his female boss.
Douglas left sleaze behind in the charming 1995 comedy "The American President", directed by Rob Reiner and co-starring Annette Bening and Michael J Fox. He was surprisingly light and breezy as widowed President Shepherd, trying to balance running the Free World and romancing an environmental lobbyist. In 1994, he signed a development deal at Paramount, for whom he produced and starred in the historical adventure "The Ghost and the Darkness" (1996), but the studio was much happier with two producing projects in which he did not act, John Woo's "Face/Off" and "John Grisham's The Rainmaker" (both 1997). Returning to more familiar ground, Douglas had
昨晚我們看的2部電影是 The Sentinel 特勤組 和 Inside Man 臥底
這2部電影都很好看
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