MPAA Rating: PG-13/Genre: Action Thriller/Stars: Harrison Ford, Tommy Lee Jones, Sela Ward, Joe Pantoliano, Andreas Katsulas, Jeroen Krabbé, Daniel Roebuck, Tom Wood, L. Scott Caldwell, Johnny Lee Davenport, Julianne Moore, Ron Dean, Joseph Kosala, Jane Lynch, Dick Cusack, Andy Romano, Nick Searcy, Eddie Bo Smith, Neil Flynn, Richard Riehle, Kirsten Nelson, David Darlow, Frank Ray Perilli, Lester Holt, David U. Hodges/Runtime: 130 minutes
It might surprise you to know this dear reader, but when a person really stops to think about the numerous decades that cinema has existed as an artform it is rare for the individual in question to think about every single film that came out in those decades (surprising I know). Instead, what we as people have decided to do (because it’s just simply easier to do purportedly) is really come up with what movies are ones that define that particular decade so that whenever we hear those movies mentioned we know automatically what decade someone is talking about. Perhaps this is why if I mention such titles as “Jaws, Taxi Driver, Rocky, The Godfather, or All the President’s Men” it wouldn’t surprise me if your mind automatically thought about the cinema of the 70s. Likewise, if the titles “Ferris Bueller’s Day Off, Ghostbusters, Top Gun, or A Nightmare on Elm Street” made their respective way into your mind you would know you were about to take a trip back to the Go-Go 80s. Of course, if I mention the word “Marvel, Marvel, Marvel, and Marvel” then you would know that I was talking about the cinema of the 2010s because *clearly* there were no other noteworthy titles worthy of discussion that came out at any point during that decade (and I promise that was a joke so you can definitely put your pitchforks down now). The reason I bring this up to you dear reader is because the slice of cinema I am reviewing you for today is a movie that is most assuredly a defining film from the decade in which it was released. In the case of the latter, I can tell you that the decade in question was the 1990s (a decade that also saw the release of, among other iconic entries, Independence Day, Jurassic Park, Clerks, GoodFellas, and The Silence of the Lambs). As for the movie I am reviewing for you well that would be none other than the 1993 action thriller The Fugitive. A film that, besides giving us an exchange of dialogue that has become etched into the realm of pop culture (and one I delight in using to drive my friends crazy) to say nothing of an entire Leslie Nielsen parody film from 1998 known as Wrongfully Accused, also happens to be without question one of the most electrifying and riveting combinations of an incredibly intelligent so-called thinking person’s thriller as well as a just plain engaging and delightful cinematic ride that I have ever had the pleasure of seeing. A rather distinct mixture in the land of movie magic to be sure, but one that when it comes together like this is very much the calling sign for a genuinely great movie. Suffice it to say that when you factor in truly exceptional work both behind and in front of the camera there is no denying that is exactly what we as movie goers are given here and so much more in the finest way possible.
The plot is as follows: An adaptation of a 1960s TV show of the same name, The Fugitive gets underway by introducing us to our hero in the form of a guy by the name of Richard Kimble. A guy who, among other attributes that are worth knowing about him, is a successful and thriving member of the medical community that specializes in vascular surgery. Sadly though, this is not a story about the time that Kimble saved a child from bleeding out nor is it about the successful operation he did on the governor of Illinois (and yes I did in fact just make both of those cases up). Rather, this is a story about how Kimble found himself accused of murdering his wife Helen whom he loved more than life itself. You see dear reader, it seems that one night shortly prior to the start of our story, our intrepid hero came home after an emergency surgery he was called to and discovered to his horror that Helen had tragically become the victim of a horrific homicide that, Kimble argued, was committed by a one-armed attacker who has since gone back into the shadows so to speak. Even worse is the fact that, despite our hero’s and his attorney’s pleas to the contrary, we soon witness as he is both wrongly arrested and subsequently convicted for his wife’s death. As dire as things may be looking for Dr. Kimble however, it isn’t long before Lady Fate, in that mysterious way of hers, has decided that perhaps this man deserves a chance to prove his innocence after all. As a result, we see that, whilst being transported to death row, a few of the prisoners onboard the transport bus with Kimble decide that they are going to try and escape. A choice that, in the ensuing chaos, sees a couple prisoners and the bus driver killed, one of the other guards grievously injured, and the bus put smackdab in the path of an oncoming train. A train that, upon making contact with the bus, provides our hero with the cover he needs to proceed to take off and try to prove his innocence by any means necessary. Thus with the clock ticking and a squad of highly skilled U.S. Marshals, led by a particularly dogged and determined bloodhound of an individual by the name of Sam Gerard, attempting to find and subsequently bring him in can our hero not only find out who set him up for this grievous crime and why, but also locate the evidence necessary to prove his innocence or is this one case where the long arm of justice is about to exceed our hero’s reach for the truth? That I shall let you see for yourself….
Now right off, it should be said that the work done behind the camera on this particular cinematic outing is nothing short of impeccable in every sense of the word. This starts with the work done by Andrew Davis (1992’s Under Siege, 1998’s A Perfect Murder, and 2003’s Holes among others) and he is in top form here. Indeed perhaps the key thing that Davis does so well with this movie, much in the same way as at least Under Siege and A Perfect Murder, is yes they are undeniably thrilling, but they are also grounded in a wonderful degree of realism as well. As a result, the film will leave you on the edge of your seat to be sure, but it also at no point will it make you wonder about the plausibility of what you are witnessing unfold before you on screen either. This is especially true in two distinct areas. The first is in regard to the action beats in the film which in a word are magical. Indeed be it the opening train vs. bus collision that gets this film started on just the right note of exhilaration, a chase through a sewer that ends with quite the spectacular Olympics-worthy dive, or even a taut fist fight on an L train in Chicago to name a few, these are all perfectly conceived, wonderfully grounded, and brilliantly executed in every way possible. The second is with respect to this film’s screenplay from Jeb Stuart and David Twohy which, despite a fair bit of improv on the part of the actors, still manages to be one of the more intelligent and coherent scripts for a thriller I have seen. Along with that, we also see that Davis and his creative team manage to utilize a terrific breakneck sense of pacing in this film as well. Thus not only are you able to retain a continued investment in the film and the characters, but it also does an effective job of ensuring that you are able to place yourself in the perspective of the main character as he is being chased pretty much throughout the entire runtime of the film with nary a chance to just stop and take a breath for a moment. In regards to the latter, I think the other key element that definitely aids in that endeavor would have to be the brilliant job done by the cinematography department as headed by the immensely gifted Michael Chapman. Indeed Chapman does a wonderful job of not only utilizing the camera in such a manner that it adds to both the thrilling energy coursing throughout the entire film to say nothing of permitting us as movie goers to feel like we are right there with the characters through every riveting moment, but he is also able to contribute a fair bit of range to the emotions on display by the cast of characters in this via an expert utilization of both light and shadow respectively. Lastly, I would be very much amiss if I didn’t take some time to praise the skilled job done by James Newton Howard. Indeed Howard may have had his doubts, but I feel his score here definitely does a potent job of staying rooted in suspense whilst also remembering the humanity of the characters at the heart of the story as well. Suffice it to say that when you also factor in superb editing work done by a team of no less than 6 editors (!) among others it’s clear that, yes there might be some tiny issues here both in terms of narrative logic to say nothing of some characters feeling like they and their arcs were unjustly victims to the infamous cutting room floor, but by and large the work done behind the camera on this film is a true treat in just about every way possible.
Alongside the nothing short of incredible work done by the various departments behind the camera, this cinematic outing also benefits immensely from the performances provided by the truly terrific cast of players in front of the camera as well. Without a doubt in my mind, this starts with the lead performance given by Harrison Ford and honestly this might be one of the five best in his career (and yes I am including his time as Indiana Jones, Han Solo, and Rick Deckard in that distinct line-up). Indeed as Kimble, we see that Ford does a magnificent job of bringing both a likability and even charisma, but more importantly in utilizing that distinct everyman quality he embodies so well to not only get us to invest in the character 100 percent, but to also sympathize and root for him as he desperately tries to prove his innocence thereby ensuring that not only does the character, but the rest of the movie work on the level that it needed to in order to work to the best of their respective abilities. Equally as terrific as Ford in this however is none other than Tommy Lee Jones as U.S. Marshal Sam Gerard. Indeed in the performance that won him the Supporting Actor Oscar that year, we see Tommy Lee do a terrific job at playing a guy who is a bit more multifaceted than might initially meet the eye. To be sure, Jones definitely nails the driven and dogged law enforcement officer incredibly well (a character type he has played at least several more times since this film came out with particular regard to his portrayal of Sheriff Bell in 2007’s No Country For Old Men). At the same time however, we also see that Jones is also able to bring forth a wry sense of humor and even a humanity as well. A combination he showcases perfectly through not only his interactions with his fellow Marshals to say nothing of other law enforcement officers, but also in a one-on-one moment with the junior member of the team after a situation in the film doesn’t exactly go as planned. Suffice it to say that if Kimble is one of the five best of Ford’s career, then it should be said that the same holds true for Tommy Lee Jones and the character of Gerard respectively. Now backing the exemplary work done here by both Ford and Jones is are undeniably delightful contributions from a truly game support cast of talent. This starts with the always enjoyable Joe Pantoliano who, as fellow Marshal Cosmo Renfro, brings a terrific mix of determination, sarcastic wit, and also loyalty to Gerard as his quasi-sorta right hand man. Alongside the work done by Pantoliano, we are also treated to a wonderfully sinister turn here from the late Andreas Katsulas. No I am not going to tell you the character he plays here due to spoilers, but what I will say is that Katsulas does a fantastic job at playing a heavy that would make for a welcome addition to an early 007 outing. Suffice it to say that when you also include solid support efforts from such talents as Jeroen Krabbé in the pivotal role of Kimble’s friend/colleague Charles Nichols, Sela Ward, Julianne Moore, Daniel Roebuck, Tom Wood, L. Scott Caldwell, Johnny Lee Davenport, Jane Lynch, Nick Searcy, and iconic character actor Richard Riehle among others it’s clear that this slice of cinema might have some miniscule detriments here and there that could give you pause, but trust me when I say that the work done by this cast will definitely help restore your confidence in making a run to find and watch this as soon as possible.
All in all and at the end of the day is The Fugitive a perfect movie in every way imaginable? Sadly as much as I would like to say that is, I can’t though by no means is that meant to be a ding in any way against the tremendous efforts on display by this film’s undeniably hardworking team both behind and in front of the camera. With that in mind though, is this an absolutely horrendous film that is not worthy of recommendation by any stretch of the imagination whatsoever? Honestly no though if you think that way then I think that you and I need to have a polite yet firm conversation about what exactly you consider to be a fantastic film in that case. I say that because, in case you hadn’t figured out yet dear reader, I really do love this film with a passion. Yes there are some characters that feel like they were meant to be more meaningful than what we are ultimately given and yes the script for the film (for as much praise as I gave it earlier in this review) was in fact not even finished before cameras started rolling with a few brief moments that definitely show off as much. With that in mind however, the direction on display here by Andrew Davis is solid, the action beats are genuinely thrilling, the cinematography is absolutely phenomenal, the musical accompaniment is nothing short of pulse pounding, and the performances given in front of the camera (with particular regard to the work done by both Ford and Jones in easily two of the most iconic roles of their nothing short of legendary careers) are all truly exceptional no matter how much or how little screentime they are ultimately given in this slice of cinema’s 130-minute (including credits) runtime. Suffice it to say then that if you are looking for a thriller that is good then there are several other movies I can recommend to you, but if you are looking for one that is a true must-see to say nothing of a definitive cinematic viewing experience from that iconic era known as the 90s then definitely give this a watch. I promise that, unlike Gerard when it comes to the question of if Kimble did or didn’t kill his wife, you’ll be glad to know that you cared enough to do so. Make of that therefore what thou will dear reader. On a scale of 1-5 I give The Fugitive “93” a solid 4 out of 5.
