Philosophy, justice, and Catholic theology are blended to a pulp in this breathtaking example of 1970s horror. By the time the '80s rolled around, cinematic exploration with special effects was at its peak in terms of prosthetics and make-up. Several masters - mainly in Italy, America, and Japan - had reached new heights and dug up several techniques from the past that were introduced as early as the silent era. The Sentinel impressed me with both its story and its remarkable efforts to pull off a complicated film. It is an adaptation of Jeffrey Konvitz's novel, and during a Q&A he expressed some issues with it, as I'm sure is natural for a writer in his position. He did have a lot to do with the production and even co-wrote the script. Aside from certain things being changed for the film, it's safe to say that the other large issue he had was with the film's production, claiming that he would have wanted a different director and a slightly different cast. I'll get to why I disagree shortly.

An aging assassin (Bronson) contemplates retirement and takes a young apprentice (Vincent) under his wing, getting much more than he bargained for.

Lewis John Carlino’s screenplay is sparse, but strong. Unlike newer action films, the script takes its time to give you a sense of the isolation and loneliness that comes with being a professional killer. The story provides two strong characters of vastly different backgrounds that share a similar sensibility. The result is an exciting and dangerous game of cat-and-mouse.

Director Michael Winner (The Nightcombers) lays the groundwork with Bronson in The Mechanic that would lead to the Death Wish franchise. His direction is steady and well observed. There is a certain rawness to the film—highlighted by a scene where the two hitmen watch a woman slowly bleed to death to get attention from her uncaring lover. In addition, the film is brave, taking chances, such as having no dialogue in the first fifteen minute sequence as we watch a sniper killing.