The Fugitive is the best movie of its kind for all time

Twenty five years later, the movie The Fugitive with Harrison Ford and Tommy Lee Jones holds its own as one of the best movies of its genre; the character-driven action film with a large city as its backdrop for adults.

And this article is proof!

Or in the very least it gives me the confirmation bias I need.

I love this movie. I love it so much that when we used to have cable and it was on randomly, I’d sit and watch it again and again.

From the article:

“Does this guy ever quit?” one of the marshals asks toward the end of The Fugitive, and the answer is no—both for Dr. Richard Kimble and for Davis. For two hours and 10 minutes, this film does not relent. Not even for a cup of coffee (that scene was cut), not even for some shopping (cut), not even for romance (also cut). There is no hanging out here. Everything rushes. If it isn’t the actors, then it’s the camera with a Where’s Waldo? view of Chicago, the hometown of both Kimble and Davis; if it isn’t the camera, then it’s the swelling orchestral music. And the urgency is a good thing because every pause introduces a new threat—a passing cop, a skeptical doctor, a nosy guard. Even the exposition speeds by. The instigating murder itself, presented in slo-mo monochrome over the opening credits, unravels in concert with Kimble’s interrogation and his conviction, a simultaneous chronology that compresses time. As Matt Zoller Seitz wrote of The Fugitive on rogerebert.com last year, “The multilayered, at times prismatic way that it delivers information feels like an evolutionary leap forward for thrillers.”