| Photos (See all 64 | slideshow) | Videos (see all 2) |
| Clint Eastwood | ... | Luther Whitney | |
| Gene Hackman | ... | President Allen Richmond | |
| Ed Harris | ... | Seth Frank | |
| Laura Linney | ... | Kate Whitney | |
| Scott Glenn | ... | Bill Burton | |
| Dennis Haysbert | ... | Tim Collin | |
| Judy Davis | ... | Gloria Russell | |
| E.G. Marshall | ... | Walter Sullivan | |
| Melora Hardin | ... | Christy Sullivan | |
| Kenneth Welsh | ... | Sandy Lord (as Ken Welsh) | |
| Penny Johnson | ... | Laura Simon | |
| Richard Jenkins | ... | Michael McCarty | |
| Mark Margolis | ... | Red Brandsford | |
| Elaine Kagan | ... | Valerie | |
| Alison Eastwood | ... | Art Student | |
| Yau-Gene Chan | ... | Waiter | |
| George Orrison | ... | Airport Bartender | |
| Charles McDaniel | ... | Medical Examiner | |
| John Lyle Campbell | ... | Repairman | |
| Kimber Eastwood | ... | White House Tour Guide | |
| Eric Dahlquist Jr. | ... | Oval Office Agent | |
| Jack Stewart Taylor | ... | Watergate Doorman | |
| Joy Ehrlich | ... | Reporter | |
| Robert Harvey | ... | Cop |
Directed by | |||
| Clint Eastwood | |||
Writing credits(WGA) | ||
| David Baldacci | (book) | |
| William Goldman | (screenplay) | |
Produced by | |||
| Clint Eastwood | .... | producer | |
| Michael Maurer | .... | associate producer | |
| Tom Rooker | .... | executive producer | |
| Karen S. Spiegel | .... | producer (as Karen Spiegel) | |
Original Music by | |||
| Lennie Niehaus | |||
Cinematography by | |||
| Jack N. Green | (director of photography) | ||
Film Editing by | |||
| Joel Cox | |||
Casting by | |||
| Phyllis Huffman | |||
Production Design by | |||
| Henry Bumstead | |||
Art Direction by | |||
| Jack G. Taylor Jr. | |||
Set Decoration by | |||
| Richard C. Goddard | (as Dick Goddard) | ||
| Anne D. McCulley | |||
Makeup Department | |||
| Vivian McAteer | .... | hair stylist | |
| Tania McComas | .... | key makeup artist | |
| Carol A. O'Connell | .... | key hair stylist | |
| Francisco X. Pérez | .... | key makeup artist (as F.X. Perez) | |
Production Management | |||
| Michael Maurer | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Bill Bannerman | .... | first assistant director | |
| Robert Lorenz | .... | first assistant director | |
| Robert Lorenz | .... | second assistant director (as R. Lorenz) | |
| Maura McKeown | .... | second second assistant director: Los Angeles (as Maura T. McKeown) | |
| Tom Rooker | .... | second assistant director (as T. Rooker) | |
| Alison C. Rosa | .... | second second assistant director: Baltimore/D.C. | |
| Dodi Lee Rubenstein | .... | second assistant director (as Dodi L. Rubenstein) | |
| Buddy Van Horn | .... | second unit director (uncredited) | |
Art Department | |||
| Edward Alona | .... | property master | |
| David F. Bornstein | .... | construction foreman | |
| Gerrard Coffey | .... | construction estimator | |
| Chuck Herrmann | .... | property assistant | |
| Chuck McSorley | .... | property assistant | |
| John J. Rutchland Jr. | .... | construction coordinator (as John Rutchland) | |
| Michael Sexton | .... | assistant property master | |
| Wayne Smith | .... | stand-by painter | |
| Doug Wilson | .... | scenic foreman | |
| Christopher L. Conner | .... | head greensman: second unit (uncredited) | |
| Lisa A. Corbin | .... | swing gang (uncredited) | |
| Damon Hight | .... | propmaker (uncredited) | |
| Ted Lubonovich II | .... | construction gang boss: Baltimore (uncredited) | |
| Laura M. O'Brien | .... | art department coordinator (uncredited) | |
| Joseph G. Pacelli Jr. | .... | set designer (uncredited) | |
| Victor M. Shannon | .... | plasterer (uncredited) | |
| Keith Weaver | .... | scenic (uncredited) | |
Special Effects by | |||
| Jeff Denes | .... | special effects crew | |
| John Frazier | .... | special effects consultant | |
| Joe Pancake | .... | special effects crew | |
| Frances Pennington | .... | special effects crew (as Francis Pennington) | |
| Steve Riley | .... | special effects coordinator (as Stephen Riley) | |
Stunts | |||
| Jill Brown | .... | stunts | |
| Douglas Crosby | .... | stunts | |
| Brian Davis | .... | stunts | |
| Jeffrey Eith | .... | stunts (as Jeff Eith) | |
| Larry Holt | .... | stunts | |
| Jeff Mosley | .... | stunts | |
| John Robotham | .... | stunts | |
| Peter Stader | .... | stunts | |
| Jim Stephen | .... | stunts | |
| Keith Tellez | .... | stunts | |
| Dave Thompson | .... | stunts | |
| Buddy Van Horn | .... | stunt coordinator | |
| Jennifer Watson-Johnston | .... | stunts (as J. Hunt-Watson) | |
| Jill Brown | .... | stunt double (uncredited) | |
| George Orrison | .... | stunt double: Clint Eastwood (uncredited) | |
| Jim Stephan | .... | stunts (uncredited) | |
Casting Department | |||
| Pat Moran | .... | casting: East Coast day players, Baltimore/Washington D.C. | |
| Claudia Ramsumair | .... | casting assistant | |
| John Strawbridge | .... | casting associate (uncredited) | |
Costume and Wardrobe Department | |||
| Darryl M. Athons | .... | set costumer: men (as Darryl Athons) | |
| Deborah Hopper | .... | costume supervisor | |
| Roussell Johnson | .... | tailor | |
| Cheryl Scarano | .... | key costumer (as Cheryl Perkins Scarano) | |
| Peggy A. Schnitzer | .... | set costumer: women | |
Music Department | |||
| Robert Fernandez | .... | scoring mixer (as Bobby Fernandez) | |
| Donald Harris | .... | music editor | |
Transportation Department | |||
| Maylon Houston | .... | transportation captain (as Skook Houston) | |
| Robert Neilson | .... | transportation coordinator (as Bob Neilson) | |
| Lonnie Craig | .... | driver (uncredited) | |
| Douglas A. Walk | .... | driver: honeywagon (uncredited) | |
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| The Interpreter | In the Line of Fire | The Gauntlet | Golgo 13 | Touch of Evil |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb USA section |
What starts out with immense potential gradually evaporates into preposterousness in ABSOLUTE POWER. That doesn't make it an entirely bad picture, but it certainly puts a damper on what could have been. Clint Eastwood is an aging thief (he's been an aging something or other for his last 20 movies) who secretly witnesses President Gene Hackman get rough with his mistress. The encounter ends with her being shot by the Secret Service as she tries to defend herself, and the incident is promptly disguised to look like run-of-the-mill foul play. He may be on the outside of the law looking in, but Clint ain't about to let the powers that be get away with this one.
The opening 20 minutes of ABSOLUTE POWER are quite suspenseful, bordering on mesmerizing. There we are, trapped in a walk-in, two-way mirrored vault along with our pilfering hero, helpless to stop the horror unfolding just meters away. Eastwood may start out as the bad guy, but his status is quickly upgraded as he flees the scene holding what may be the only piece of evidence that can prove his astonishing observation. From then on we find ourselves rooting him on, even if he is in reality nothing more than the lesser of two evils.
What unravels ABSOLUTE POWER is its laziness and improbability. In an attempt to set up one stirring scene after another, the characters begin doing and saying things one would expect of a low-rate Jean-Claude Van Damme movie. A one-dimensionally evil Secret Service man surreptitiously hunkers down in a tall building trying to snipe Eastwood ala Lee Harvey Oswald. A police detective has no problem with Eastwood sneaking around his home at all hours of the night. A three-minute argument by Eastwood's thief is enough to convince the mistress's widower of the involvement of the most powerful man on earth. And to call the ending outlandish and unsatisfying would be a pair of understatements.
As well, though it's usually the other way around, ABSOLUTE POWER would have benefited from a longer running time. One comes away with the sense that Eastwood, who also directed, tried to cram too much into too little. The film certainly had the material to go longer, and its compactness gives the whole endeavor a choppy feel at times.
ABSOLUTE POWER is a film you really want to like. There is considerable talent involved here, and the movie's heart seems to be in the right place. But like that one photo we all have in our album, this one didn't turn out as good as we would have hoped.