The Sentinel

 ((Wed. (20), 8-9 p.m., UPN))

By LISA D. HOROWITZ

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Filmed in Vancouver, B.C., by Pet Fly Prods. in association with Paramount Network Television. Creators-executive producers, Danny Bilson, Paul DeMeo; producer, Michael Lacoe; co-producers, Frank Jimenez, Robert Benjamin; director, Bilson; writers, DeMeo, Bilson.
 
Cast: Richard Burgi, Garett Maggart, Bruce A. Young, Kelly Curtis; Molly Parker, Ken Earl, Tim Henry, Roger R. Cross, William De Vry, Deryl Hayes, Maria Herrera, Jason Furukawa, Althea McAdam, Aurelio Di Nunzio, Arnie Walters, Gaetana Korbin, Heather Hanson, Mike A. Mitchell.
 

Co-creators and exec producers Danny Bilson and Paul DeMeo have crafted an unusual, action-packed, special-effects-heavy hourlong drama. Intriguing premise , though slow to get going, should attract and hold viewers in the prized young adult demo. Fledgling netlet UPN may have its breakout hit in "The Sentinel."

Pilot starts with back story on James Ellison (Richard Burgi), only survivor of a military helicopter crash 18 months earlier in the Peruvian jungle. When he's finally rescued (in a silly but necessary scene), Ellison displays some unusual abilities, such as super-sensitive hearing and telephoto vision.

Five years later, Ellison is a police detective in Cascade, Wash., where they have "seven kinds of rain and 42 ways of ordering coffee," according to his boss , Capt. Simon Banks (Bruce A. Young, who's competent but hard to understand in the pilot; he's much better in second episode). The squad, which includes Ellison's ex-wife, forensics expert Carolyn Plummer (Kelly Curtis), is tracking a serial bomber who holds a grudge against Ellison. Pilot doesn't really get moving until second half-hour, as Ellison tries to figure out what's causing his heightened senses; apparently they went dormant after he left Peru, though this is unclear at first and makes Ellison seem dumb when we first see him in Cascade.

His efforts lead him to Blair Sandburg (Garett Maggart, bubbly and believable), a grad student in anthropology who latches onto Ellison as the living embodiment of his thesis. According to Sir Richard Burton ("the explorer, not the actor," as Blair points out), ancient tribes had a "sentinel" who kept watch over his people. His abilities were the result of genetic superiority honed by time spent alone in the wild. It seems Peru unleashed these talents in Ellison.

Reluctantly, the mismatched duo -- straight-arrow cop, long-haired academic -- pair up to catch the bomber, teach Ellison to control his senses and earn Blair his doctorate. Despite the contrived setup, Ellison warms up tremendously as he reveals his fears and vulnerability, and Blair gets plenty of good lines. Their banter is entertaining and likely to sustain interest among diverse audiences.

Writing is sharp, direction is snappy, and actors perform to maximum effect. Burgi conveys complexities of Ellison's confusion and efforts to cope with what's happening to him, and Maggart is a good foil. Supporting players are fine.

Loaded with terrific special effects, "The Sentinel" plays more like a movie than a TV drama. That can be a drawback, however; second seg, "Siege," is quite violent and inappropriate for younger viewers. But the effects are spectacular and characters developed well, with appealing traits.

UPN appears to be trying to make its name with action hours, building on the success of its "Star Trek: Voyager." This series shows the netlet is on the right track.

Camera, Greg Gardiner; editors, Frank Jimenez, David Jimenez; production designer, David Willson; music, Steve Porcaro; theme, James Newton Howard; casting, April Webster.