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“The Sentinel” is a large 1970’s dread film staffed with a cast rivaling the pictures made by Robert Altman or Irwin Allen. I can’t remember the last time I saw a film with so many recognizable faces-Christopher Walken, Chris Sarandon, Beverly D’Angelo, Burgess Meredith, John Carradine, Jerry Orbach, Jeff Goldblum, Ava Gardner, Martin Balsam, Jose Ferrar, Eli Wallach, Arthur Kennedy, and Tom Berenger all pop up in roles both major and minor throughout the film. “The Sentinel” obviously takes films like “The Omen,” “Rosemary’s Baby,” and “The Exorcist” as its role models, and it holds up surprisingly well in comparison. When I stumbled over this film a few months ago, I was quite astounded I had never heard of it before considering I am such a fan of 1970’s dread films dealing with satanic influences. Michael Winner, the director who presented us with such classic cinema as “Scorpio,” “Death Wish,” and “The Mechanic,” gives us his all in this chilling sage about a gateway to Hell and the abominable souls entrusted to protect the rest of us from the despicable spirits space there. The movie is an adaptation of a book written by Jeffrey Konvitz.

A model named Alison Parker and her successful lawyer boyfriend Michael Lerman (Christina Raines and Chris Sarandon respectively) inaugurate their descent into madness when Parker rents a room in a creepy used apartment building from mysterious precise estate agent Miss Logan (Ava Gardner) . The model soon discovers her unusual dwellings contain a decidedly corrupt atmosphere-a blind priest sits and stares out of the window of the top floor apartment, an elderly high-tail spouting cryptic comments (Burgess Meredith) keeps dropping by, and a couple of females in an extremely halt relationship live in a neighboring apartment. Within a few days of appealing in, Parker begins to hear queer noises, starts having intellectual memories of a suicide attempt she made as a child, sleepwalks, and discovers a few shocking secrets about the other tenants in the building. By the time Alison starts having fainting fits during fashion shoots, her boyfriend Michael steps in and starts investigating the uncommon apartment building. Lerman’s nosing around brings in a couple of detectives (Wallach and Walken) who remember well how Michael’s first wife died under mysterious circumstances. When bodies launch turning up, “The Sentinel” becomes a urge to examine what nasty lurks in the apartment building before the cops pin the weirdness on Lerman.

Winner’s film evokes shudders on numerous levels. You’ll gasp in surprise several times during the film, from the eventual revelations about the uncommon residents to what Beverly D’Angelo’s character does when Alison Parker pays a visit (I had to replay that scene a couple of times honest to convince myself that I did really gape that. Purely from an academic aspect, of course. Just.) . I’ve seen several films where Burgess Meredith works hard at being weird-”Burnt Offerings” is an favorable example-but I don’t remember him ever attaining the level of bizarre he does here. He’s downright disturbing as the elderly neighbor who drops in on Raines’s character from time to time. The conclusion of the film definitely constitutes one of the more disturbing endings I have seen in a terror film, and it does so with a lot less gore than you would interrogate. I opinion the location of “The Sentinel” was a honorable one, a location both frighteningly offbeat and effectively eerie.

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I had a lot of fun watching for notorious faces. Most of the actors who appeared in the film weren’t that well known yet, and they glimpse younger than you could ever imagine. Jeff Goldblum plays a pushy fashion photographer, Beverly D’Angelo turns up as a lesbian with a penchant for showmanship, and Christopher Walken plays a cop. Walken especially is comical to peer. He only has about two lines in the entire film yet calm manages to exude his now famed sense of weirdness. Chris Sarandon has since become a better known actor through such roles as the vampire in “Panic Night,” and Jerry Orbach made a name for himself as a character actor in films (”Brewster’s Millions”) and as one of the cops in the television expose “Law and Order.” The only sincere mystery here is Christina Raines as Alison Parker. Here’s an actress in the lead role in a film loaded with young and stale talent alike, and she barely makes a splash. In fact, she hasn’t made a movie or television exhibit since the gradual 1980s. What happened? Personally, I didn’t care for her character in the movie or how she played the share. Even worse, considering she’s supposed to be playing a substantial buck fashion model, she isn’t very handsome. You will have a better time watching the absorbing mix of actors and actresses instead of focusing on Raines’s histrionic performance.

“The Sentinel” doesn’t provide noteworthy in the draw of extras outside of a trailer and some production notes. Even the report transfer isn’t all that great, unfortunately. You would figure a movie loaded with so many once was and would be stars would find a better treatment. Oh well, give the movie a shot if you adore panic. Creepy, grotesque, and shocking-”The Sentinel” managed to surprise me, a jaded panic aficionado, more than a few times. Let’s hope they rerelease the movie on a DVD with a better describe transfer, more extras, and perhaps a commentary from the likes of Sarandon.

This is a very scary flick, based on the equally creepy book by the same name. In fact, the movie is very faithful to the original, which was considered fairly evil for its time frame. This isn’t a perfect movie, being choppily made and a bit amateurish in its direction and production, but as far as panic films go, it’s very unsightly and creepy.

The cast list features both extinct and recent stars and all of them did a sizable job. Conventional movie queen Ava Gardner is radiant and believable as the realtor who seems clue-free about the horrors contained in her rental property. Jose Ferrer plays the head of a secret brotherhood of priests who steal the Sentinel—the unpleasant person who sits at the gates of hell and blocks injurious from erupting into the normal world. Eli Wallach is the cynical but willing to be convinced cop who’s trying to unravel the bizarre puzzle he’s been handed. The substantial John Carradine—tall, gaunt, with his cavernous say and arthritis-twisted hands—plays the used priest who is the dying sentinel that must be replaced. Finally, the devil is played to charming and injurious perfection by Burgess Meredith.

Buy,Download, Or Stream The Sentinel! Click Here

The newer bunch of faces are suited, too. Christina Raines is vulnerable and touching as the girl under spiritual attack from both sides, a pawn in the never-ending battle between obedient and unfavorable. Chris Sarandon is effective as her caring but ultimately self-centered boyfriend, caught in the grip of unbelief while forced to confront the spiritual reality of the place he’s encountered. There’s a group of future stars hidden in the rest of the cast: Jerry Orbach as a jerky TV director; Deborah Raffin, Beverly D’Angelo and Jeff Goldblum as friends of the victimized girl; and Christopher Walken as the junior partner of the dilapidated cop. Everyone does a titanic job in pulling off his role and helps carry the anecdote forward.

The special effects are shapely gory for the times and aloof have the capacity to noxious out some viewers. There are some fairly wicked nude scenes, too, especially captivating the girl’s father and his two horrible whores. The atmosphere of this film is more suspenseful than unpleasant, but the psychological drama of a normal person facing unspeakable unfavorable is very well portrayed. The girl is helpless, especially at the demolish, when confronted by the devil and his minions. Whoever notion to pick up sideshow freaks to play the fiends around satan was a genius; the execute is very considerable and horrid. Overall, this is not a current apprehension flick with tons of mayhem. It’s a more sedate but also more unpleasant dip into the realm of improper. Very creepy!
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