It Could Happen to You (1994)

Highly unusual and enjoyable romantic comedy drama. A New York cop called Charlie (Nic Cage) wins the lottery and – honouring a promise – donates half of the money to a waitress called Yvonne (Bridget Fonda) who he’d never met before. 

As with A Simple Plan, in which Fonda also featured, it explores what happens to poor people who suddenly have money. The twist this time is that Charlie and Yvonne are such kind people that – unlike their selfish spouses – they cannot be corrupted by their windfall. 

The big flaw is Rosie Perez gratingly hamming it up as Charlie’s wife Muriel. She’s almost unbearable to watch. The character is clearly meant to be annoying, but maybe they took it too far. Cage and Fonda, however, are both tremendous. There’s great chemistry between them, and their gentle romance is sweet and charming. 

All in all, it's refreshingly different.

Blown Away (1994)

Thriller. 

Ex-IRA soldier and expert bomb-maker Ryan Gaerity (Tommy Lee Jones) escapes from prison in Northern Ireland. He travels to Boston to seek revenge on his former colleague Lieutenant James “Jimmy” Dove (Jeff Bridges), who is now a hero in the bomb-disposal unit. But Dove is also ex-IRA and the secrets of his past threaten to destroy both his career and his marriage. 

Directed by Stephen Hopkins, this is a fairly average thriller with some exciting moments. Every time Jimmy has to defuse a bomb that’s about to go off, the tension increases considerably. Bridges has a certain charm, as does Forest Whitaker as Officer Anthony Franklin. But Dove’s wife Kate (Suzy Amis) and uncle Max (Lloyd Bridges) are less well drawn as characters and threaten to tip it into B-movie territory.

Four Weddings & a Funeral (1994)

The best of the romantic comedies written by Richard Curtis. The script and narrative are tighter and sharper, so there’s not the messy sprawl of Love Actually. 

The story revolves around a group of friends, who we only meet via the sequence of formal rites-of-passage events alluded to in the title. It’s expertly constructed, with what seem like throwaway lines thrown in early on ending up having a neat pay-off later. 

Hugh Grant is extremely watchable – at his charming-but-nervous best. Has anyone ever done “flustered” better than him? Andie McDowell is suitably aloof and exotic as the mysterious American visitor who attracts his attention. 

The only character that doesn’t quite work is Scarlet (Charlotte Coleman). I assumed she was Charles’ sister but it turns out she’s only his flatmate. On the plus side, Kristin Scott Thomas, Simon Callow, John Hannah and Rowan Atkinson are all excellent.

Legends of the Fall (1994)

Family saga, domestic drama, western, war film, homage to Native American traditions and mini-history of the USA. 

Three brothers live with their father (Anthony Hopkins) in the wilderness and plains of Montana. The youngest, Samuel (Henry Thomas), is due to marry Susannah (Julia Ormond), but his would-be wife is attracted to the middle brother Tristan (Brad Pitt) and simultaneously yearned for by the older brother Alfred (Aidan Quinn). These conflicting emotions play out against the changing times (World War I, Prohibition), and – in Tristan’s case – against the Native American traditions he embraces. 

This is an unusual, intelligent film that covers a lot of narrative ground but never becomes trite or silly. 

There are excellent performances all round. It’s moving but not sentimental. Hopkins a little wasted in terms of minimal dialogue, but when he’s on he’s very good. Pitt is better than usual, too, rising to the challenge of being at the centre of the story.

Forrest Gump (1994)

Masterful comedy-drama directed by Robert Zemeckis. 

Tom Hanks plays a simple but kindhearted man whose life unexpectedly touches those around him. He also finds himself accidentally woven into key moments in American history of the 1960s and 1970s. 

It’s sweet and touching, romantic and sad. Hanks is perfect in the role – he keeps it on the right side of the endearing/annoying divide. 

As in Back to the Future, Zemeckis handles the storytelling with almost supernatural empathy and skill. The pacing is spot on and there’s not a moment of filler nor a line out of place. He also handles the changes in tone superbly well, so comedy can turn to poignancy without jarring – and vice-versa. 

Robin Wright and Gary Sinise are excellent as the love of his life and his former Vietnam lieutenant and long-standing friend, while Sally Field is wonderful as his wise, caring mother. 

The shaggy-dog story takes in his spell in the army, his time as a table-tennis champion, working on a shrimp boat, and his three years of running across America. 

There’s a message about kindness being more important than anything else, which is hard to disagree with, and a great soundtrack, too.

The Shawshank Redemption (1994)

Moving drama based on the story by Stephen King. An innocent man (Tim Robbins) is imprisoned for a double murder he did not commit. In jail he has a profound effect on those around him – in particular, his friend Red (Morgan Freeman). But the ongoing brutality and corruption of the staff means that he’s intent on finding his freedom.

I like the way it’s deliberately paced slowly to mirror the slowness of prison life. You can feel the decades dripping past, but it’s never boring. I also like the way it’s uplifting without being trite or sentimental. Indeed, there’s plenty of violence to balance any cuteness.

Tim Robbins has a quiet magnetism about him. He says little but he makes every word count. 

I also like the way that the escape itself makes up only a tiny part of the overall drama. The real story is about incarceration and friendship.

When a Man Loves a Woman (1994)

Meg Ryan plays a mother of two who descends into the horror of alcohol addiction. Andy Garcia plays the loving airline-pilot husband who wants to save her but ends up stifling her in the process.

It’s an extremely well-written drama that avoids cliché. Cleverly, it evolves from a film about a drink problem into a film about a marital problem. And it presents the couple’s situation from multiple angles so that it’s difficult to “take sides”.

The two child roles are brilliantly acted by Tina Majorino and Mae Whitman, revealing real sensitivity in their restrained but heartbreaking performances. Philip Seymour Hoffman plays a friend from Alcoholics Anonymous, who oddly drops out of the narrative without explanation – the only real flaw.

The songs on the soundtrack can be a little intrusive, but they don’t spoil the film. I was fearing a simplistic “happy” or “sad” ending, but it wisely avoids that and finds its way to a more satisfying conclusion. It’s emotional and powerful.

True Lies (1994)

Action comedy thriller that cleverly pastiches the James Bond series, with a lot of added humour. James Cameron directs, handling a potentially complex plot extremely lucidly. He also indulges his usual tic for lots of white and blue backlighting.

Harry Tasker (Arnold Schwarzenegger) works as a secret agent for the Omega Sector intelligence agency. His wife Helen (Jamie Lee Curtis) knows nothing about this and believes he’s a dull computer salesman. When Harry suspects her of having an affair, he contrives an elaborate scheme to fulfil her desperate desire for adventure and excitement but ends up accidentally dragging her into a dangerous terrorist plot led by Salim Abu Aziz (Art Malik). 

The film balances witty observation with genuinely exciting action. Discussing the villain, one of the teams says “They call him the Sand Spider.” “Why?” asks the head of Omega Sector (played by Charlton Heaton). “Probably because it sounds scary,” is the response. 

The ending is one of the most spectacular action sequences I have seen (Cameron is incredibly skilled at this), and the Harrier jump-jet sequence at the climax is absolutely heart-stopping.

Clear and Present Danger (1994)

Harrison Ford stars in this adaptation of a Tom Clancy thriller about a CIA man who gets involved in both a Colombian drug war and the murky secrets of the White House. Maybe it worked as a novel, but as a film it’s too long and too slow. Buried in there somewhere are two interesting stories – a guns ’n’ copters action plot and a political saga built around protocols that sadly seem almost quaint in the debased Trump era. Instead, you get a rather drab and convoluted mess that cannot satisfy. That said, Harrison Ford is as riveting as ever, Willem Dafoe isn’t bad as field agent John Clark and James Earl Jones is convincing as the dying Vice Admiral James Greer.

Dumb and Dumber (1994)

The title says it all. An absolutely stupid film that ends up being very funny. Jim Carrey and Jeff Daniels play two of the most infantile people imaginable. But they are well-meaning, too, and care about each other. They become accidentally involved in a crime involving the kidnap of the husband of an heiress (Lauren Holly) and leave a trail of destruction in their wake while attempting to travel to Aspen (it’s a sort of road movie) in order to return a suitcase full of money.

It works because the humour is kind. You laugh at their absurdity and vulnerability. I’ve never been a fan of crass jokes about toilets, but these characters are so well drawn that even the “laxative overdose” scene is compelling.

Stupid as they are, you root for them because you recognise a little of yourself in their daftness and because it’s difficult to resist the warmth of their friendship.

Speed (1994)

Terrific action thriller. The concept is simple: a Los Angeles city bus is armed with a bomb that will detonate if the vehicle’s speed dips below 50 mph. Cute, funny Sandra Bullock is the passenger who becomes the heroic driver. Keanu Reeves is the cop jumping aboard the bus to save her and the other passengers while trying to defeat the crazed villain (Dennis Hopper). He’s helped by fellow cop Jeff Daniels, who is as reliably watchable as ever.

With exceptional pacing, the film ramps up the tension from the start and somehow sustains it for 111 minutes.

Some of the dialogue is weak, with a silly Bond-like quip about death that could have been skipped, but it doesn’t really matter. It’s so full-on in terms of excitement that you are swept away by the rush of energy. And the blossoming romance story is developed just enough to make you engage with the characters. It’s telling, though, that only Reeves is shown on the DVD cover, despite Bullock being every bit as integral to the film.