Veteran Secret Service agent Frank Horrigan is a man haunted by his failure to save President Kennedy while serving protection detail in Dallas. Thirty years later, a man calling himself "Booth" threatens the life of the current President, forcing Horrigan to come back to protection detail to confront the ghosts from his past.
A sleek, old-fashioned thriller that critics largely embraced for its craft and its two leads: Eastwood playing to every strength he has built over decades, and Malkovich as a villain whose cat-and-mouse phone calls with the hero are the film's real engine. The gap between the near-universal critical approval and the more measured audience reaction suggests it works better as a prestige entertainment than as a crowd-pleasing thriller.
“It's movie making of the high, smooth, commercial order that Hollywood prides itself on but achieves with singular infrequency.”
Vincent Canby·The New York Times
“Most thrillers these days are about stunts and action. In the Line of Fire has a mind.”
Roger Ebert·Chicago Sun-Times
“Malkovich's insinuating, carefully thought out delivery is in the same way an ideal foil for Eastwood's bluntly straightforward habits”
Los Angeles Times
Action, Drama, Thriller, Crime, Mystery
Veteran Secret Service agent Frank Horrigan is a man haunted by his failure to save President Kennedy while serving protection detail in Dallas. Thirty years later, a man calling himself "Booth" threatens the life of the current President, forcing Horrigan to come back to protection detail to confront the ghosts from his past.
A sleek, old-fashioned thriller that critics largely embraced for its craft and its two leads: Eastwood playing to every strength he has built over decades, and Malkovich as a villain whose cat-and-mouse phone calls with the hero are the film's real engine. The gap between the near-universal critical approval and the more measured audience reaction suggests it works better as a prestige entertainment than as a crowd-pleasing thriller.
“It's movie making of the high, smooth, commercial order that Hollywood prides itself on but achieves with singular infrequency.”
Vincent Canby·The New York Times
“Most thrillers these days are about stunts and action. In the Line of Fire has a mind.”
Roger Ebert·Chicago Sun-Times
“Malkovich's insinuating, carefully thought out delivery is in the same way an ideal foil for Eastwood's bluntly straightforward habits”
Los Angeles Times
Action, Drama, Thriller, Crime, Mystery