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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.

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.

I'm going to attempt to play down all the action in the plot because there is so much of it and to explain it all would be to give away the best parts. In the film we find Alison (Cristina Raines), a model who wants some space from her boyfriend Michael (Chris Sarandon) and seeks an apartment of her own. She finds a number of places and eventually settles on a well-furnished and roomy place in an old building. The landlady (Ava Gardner) seems more than eager to get her to move in, dropping the price from $600 to $400 in order to seal the deal. On top of the fact that she is not willing to settle, she has other troubles on her mind when she hears the news of her father's death. Her feelings for him are cold due to a shocking revelation about his character that caused her to practically denounce her Catholic faith as a teenager and led to her first attempt to commit suicide. In her building she finds two people who sort of symbolize other father figures. Seen facing from the highest window of the complex is Father Halliran (John Carradine), a blind, reclusive priest. The other is Charles Chazen (Burgess Meredith), an overbearing old man who invites himself in on occasion and talks to his animals as if they were people.