Clint Eastwood is Frank Horrigan, a Secret Service agent haunted by his failure to react swiftly when JFK was assassinated. That could be interesting, but Frank isn't: he's a bull-headed old cuss. For starters, this is what he says about that day in Dallas: "I could tell he was hit. I don't know why I didn't react. I should have reacted.... I just couldn't believe it."
Excuse me?? His entire job, all his training and his sanctimonious talk, is geared to protecting the President, who gets volumes of death threats. But when an attack happens, Frank "couldn't believe it." Instead of Dallas being a wake-up call, telling him he's in the wrong line of work, he stubbornly stays on the job, ultimately becoming the insubordinate (read: antihero) sourpuss we meet 30 years later.
He is also predatory, not only with his partner (Dylan McDermott), a junior agent whom he begs and bullies to get what he wants, but with his colleague, Lily (Rene Russo), whose attraction to him can only be explained by the need for a love interest for Eastwood, who is even given jazz chops in this movie, lest we forget who we're watching and start thinking Frank is a fictional character. The movie could have been cut by twenty minutes, and been more amusing, if Lily had sparred rather than slept with him.
John Malkovich is memorable as Leary, the villain aiming to assassinate the current President, and Wolfgang Peterson and his able DP John Bailey capture him from every angle and plenty of close-ups. Leary's phone chats with Horrigan are riveting because of Leary's dialog, which actually generates anti-government sympathy: he was well-trained as a killer by the feds, and apparently well paid, too (he self-funds his assassination plot, once dropping $50G without batting an eye). Meanwhile, all Frank does during these calls is growl, threaten, and swear.
It's an intricately structured movie, cleverly manipulating the plot to deliver some very close encounters, including a rooftop death scene that is meaningfully filmed. The showdown scene in the glass elevator where Frank says "Aim high" works nicely, too, but the ending is standard nick-of-time Hollywood, triggered when Frank has a sudden insight into the when-and-where of Leary's plot.
It's a well-made film, start to finish, but seriously flawed by Frank's character, who they don't bother to make admirable or credible, let alone alluring. Just never let us forget that he's Clint Eastwood.
