There was grumbling back in 1994 when “The Fugitive” got an Oscar nomination for Best Picture. It was a fiercely competitive year—the film's rivals included “In the Name of the Father,” “Remains of the Day,” “The Piano” and the ultimate winner, “Schindler’s List”—and it was widely assumed that “The Fugitive” had been been granted the token “popular” Best Picture slot as a sop to regular folks who preferred escapism to heavy historical drama. It was a thriller based on a beloved but not particularly deep TV series, it starred action-adventure king Harrison Ford, and it wasn’t making statements about anything.
I watched "The Fugitive' again last night for the first time in years and it didn’t seem like the weak link at all. It's as finely crafted an example of its specific subgenre—“wronged man tries to clear his name”—as you’re going to find. It’s as much sheer fun as “Casablanca,” “All About Eve,” “The Sting,” “Annie Hall” and “Rocky,” all of which won Best Picture over more superficially “serious” competition by embodying excellence without seeming to flaunt it. It glides across the screen like a falcon waiting for the right moment to dive.
Matt Zoller Seitz
Film critic and filmmaker.