'') The cop and the sharpshooter achieve an easy rapport; she likes it that his apartment is filled with incredibly elaborate reconstructions of Civil War battles.
But then the movie kicks into auto - pilot. The last third of the film is a ready-made action movie plug-in. Without giving away a single secret, I can tell you that Regis and Chance find it necessary to break into the White House. And to do this, they must traverse a forgotten series of tunnels that lead by labyrinthine twists into the White House basement. The movie does what too many thrillers do: It establishes an interesting premise, and then instead of following it, substitutes standard action cliches. Will there be water, rats, electricity, dangerous secrets, hazards, security traps, flames, explosions and gunshots in the tunnel? If you think not, you haven't seen ``The Rock'' or all the other movies that inspire this sequence.
While our heroes sharpshooter are wading through the dangerous subterranean waters, let's step back and think. They need to tell the president something. He is walled off by a conspiracy. How can they get the information to him? I can think of two answers: (1) The president's son has a personal motive for wanting his father to get the information, and has complete access to him. (2) The cop is surrounded by TV cameras every time he steps outside. He could simply blurt out the truth, since there is no need to keep it secret.
Neither of these alternatives would be as much fun as breaking into the White House, but they would have a better chance of success.
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