American Fable is ambitious, maybe too much so sometimes, but there's an intense pleasure in the boldness of the film's style.
“The Presidio” begins with an assembly-line screenplay and never rises above it, not even with the weight and warmth of Sean Connery’s personality.
The whole movie has the feeling of a clone, of a film assembled out of spare parts from other movies, out at the cinematic junkyard.
From the opening chase sequence on the hills of San Francisco, which looks like “Bullitt” restaged at night, there’s hardly an element we haven’t seen before.
The heroes, for example, are two law enforcement officers who have held a grudge in the past, but now must work together. This is not exactly the first movie in history about lawmen who are partners - and indeed this movie’s director, Peter Hyams, made “Running Scared,” about two Chicago cops, only two years ago. That one was about a black cop and a Jewish cop. This one is about a San Francisco cop and a military policeman who speaks with a Scottish accent. It’s like a repertory company where only the costumes change.