It’s time to go back 30 years to look at 10 essential movies from 1994…
If you’re my age then 1994 feels like it was about 10 years ago. Sadly, it was actually 30 years ago and the cinematic offerings of the year were hugely impressive. Whether it was ruminations on life being like a box of chocolates or a classic prison escape, there were plenty of excellent films and here are ten essential films from 1994 that you definitely cannot miss…
Leon: The Professional
One of the best action movies of the decade came out in 1994 and affirmed the talent of Luc Besson who was coming off the success of Nikita. Leon: The Professional has a brilliant but illiterate and rather simple assassin (Jean Reno) reluctantly becoming the carer for a precocious young girl (Natalie Portman) whose family is annihilated by an unhinged and corrupt cop (Gary Oldman).
Stylish, thrilling, brilliantly acted and able to tug at the heartstrings, Besson’s best work also set a bar he’s been unable to get close to since. Reno as the unassuming Leon is superb and Natalie Portman’s star-making turn is revelatory. Then there’s Oldman who dives fully into his deranged Stansfield. He cranks it up to 11 but it always feels (disturbingly) grounded. He’s unsettlingly insane. Throw in a great Eric Serra score and it’s easy to see why Leon still holds up so well.
Pulp Fiction
Quentin Tarantino had already firmly announced himself with Reservoir Dogs and the gap between that and his next film, Pulp Fiction certainly built up plenty of buzz. So many auspicious debuts have been followed up with a damp squib of a follow-up, and though Tarantino’s exceptional script for True Romance did bridge a gap, audiences waited with bated breath for his sophomore directorial effort.
It arguably remains his best work (certainly one of his first two). Pulp Fiction pays homage to a vast array of influences as we’ve come to expect from Tarantino and it meanders in a way that would kill most writer/directors but feels majestic in the hands of the rising Tarantino. It shouldn’t be this good but it is as QT beautifully weaves a number of character and story threads together, out of chronology without ever losing a grip on the audience. Then factor in comeback performances mixed with breakout performances and a career-best turn from Bruce Willis (the big star of the picture then). Everyone is great and all are aided by the wonderfully quirky characters Tarantino put on the page before the cast beautifully brought them to life.
Chungking Express
Speaking of Tarantino, with his then newfound status in Hollywood, his word had plenty of sway. Tarantino’s love of Asian cinema was clear and his endorsement was essential in bringing works from the likes of Wong Kar-wai and Takeshi Kitano to the consciousness of American audiences. One such film was Kar-wai’s, Chungking Express, a visceral, charming tale of two cops who fall in love. The intertwining stories actually feel akin to Tarantino’s oeuvre and it’s easy to see what compelled him.
Chungking Express beautifully places us in a time and place with engaging and endearing characters who have inimitable quirks. Tony Leung was already establishing himself as one of the most magnetic stars rising in the Hong Kong movie scene. Brigitte Lin had something of a swansong performance with this, whilst singer/actress Faye Wong really broke out as a movie star with this film. The film will leave the Cranberries and The Mamas and the Papas lodged in your brain.
The Crow
Forever tragically tied to the death of Brandon Lee, Alex Proyas’ gothic masterpiece is still one of the greatest comic book adaptions ever. As well as perfectly capturing the dark aesthetic of James O’Barr’s creation, Proyas’ neo-noir and gothic blends contribute to a visually stunning film. The film also has an incredible soundtrack but it’s also filled with great performances.
Michael Wincott revels in his villainy, well backed by David Patrick Kelly, Tony Todd and Bai Ling. However, the star here is the titular antihero, played so perfectly by Brandon Lee. It was a performance that was destined to be his launch pad to greater things beyond merely being a second-tier action star. Lee had everything, the looks, charisma, acting ability and physicality that would have made him impossible to ignore as the potential new-gen action star of the era. His enigmatic vulnerability would have given him another level many others didn’t have.
The Shawshank Redemption
For some reason, The Shawshank Redemption didn’t really leap out at audiences initially. Despite 7 Oscar nods, this wasn’t the pop cultural phenomenon that Forrest Gump or Pulp Fiction were, and though well regarded by those who saw it, it took a few years until it started popping up in Top 100 lists with great regularity. Although its current standing as the best film on IMDB is a little inflated, this is still a life-affirming and brilliant work.
Frank Darabont brings Stephen King’s story to life as well as anyone has adapted one of the man’s works. Exceptional performances and the visual resplendence of Roger Deakins’ photography make The Shawshank Redemption unmissable (if you’re one of the three people who hasn’t yet seen it).
Shallow Grave
Three young flatmates welcome a new lodger to stay with them and for themselves in a grim situation when they find him dead and find a huge pile of cash belonging to their late flatmate.
Danny Boyle’s debut was bold and engaging, with a group of flawed and occasionally objectionable characters who find themselves in a difficult moral quandary as the situation and the cash begin to breed distrust. It’s well cast with breakout roles for Ewan McGregor, Christopher Eccleston and Kerry Fox and Boyle’s direction already had his trademark energy.
Three Colours: Red
The third part of Krzysztof Kieślowski’s iconic trilogy (along with Blue and White) is as visually stunning as the other parts and arguably the best of the three. Irene Jacob is mesmerising as Valentine, a model who by a fateful accident meets a retired Judge. The film has themes of connection, fate, chance and the relationships which develop between people.
Once again Kieślowski’s outsider view of France gives this an objective and observant gaze crafting beautifully layered characters. It’s a lithe and enthralling film that strays only a little over 90 minutes.
The Lion King
In a brilliant era for Disney’s Animation, The Lion King stood tall as one of the best, possibly of the House of Mouse’s entire catalogue. Loosely based on Hamlet, this also did the Dane better than every live-action film adaptation.
Incredible and groundbreaking animation combined with great storytelling and like the best of Disney’s animated classics, this wasn’t afraid to go dark in key moments. It’s emotional, thrilling, and heartbreaking but also uplifting and joyous and of course, the soundtrack is sensational. If you watch one Disney animated film from the 90s, watch this one. Okay watch two, and chuck in Aladdin as well.
Speed
A bus that will explode if it drops below 50 mph, being driven by an effervescent Sandra Bullock whilst a dashing and heroic Keanu Reeves, attempts to save the day. Speed takes a concept that could have been difficult to pull off but is nailed at every turn. Rising stakes and tension and a perpetual series of problems for Jack to overcome keep this propulsive film chugging along, whilst the set pieces are superbly handled by DOP-turned-director Jan de Bont.
Such was the skill with which he handled Speed, you have to wonder how his directing efforts after went largely wrong. Reeves and Bullock sizzle as a pairing and they’ve got a perfect antagonist in Dennis Hopper.
Forrest Gump
Often regarded as one of the most egregious Best Picture winners of all time, largely because it bested both Shawshank and Pulp Fiction, it shouldn’t be forgotten that Forrest Gump is a wonderfully crafted and enjoyable film. Tom Hanks effectively found himself at the top of the Hollywood tree following the success of Gump and could do no wrong for most of the remaining decade.
Maudlin at times but always compelling and emotionally engaging, Gump is larger than life and the eternal positivity of the naive protagonist makes him wholly likeable. Hanks is great but he’s well matched by Sally Field and Robin Wright is excellent as a character who is rightfully vilified, even when Gump always tries to see the best in her.
SEE ALSO: Check out our essential films from 1974 and 1984
What’s the best film from 1994? Let us know on our social channels @FlickeringMyth or hit me up @jolliffeproductions…
