Some critics refer to “Noir” as a genre, while others consider it a filmmaking style. From 1941 until 1959, “Noir” films became popular in Hollywood, with few distinguishing features that set them apart from other crime pictures. Originating in German Expressionist filmmaking, these films were characterized by stark black-and-white cinematography, low-key lighting, and imbalanced compositions. Additionally, such films had a pessimistic viewpoint and a hopeless tone, resulting in unhappy endings. The protagonist was always a shady character, an antihero, who struggled with moral ambiguity and was frequently trapped in situations that forced him to make difficult decisions out of desperation. Femme Fatales were the leading ladies in these films; they were multifaceted and complex characters with ulterior motives who would manipulate and seduce men for personal benefit. These films were set in a cynical world where characters distrusted one another, leading to betrayal and double-crossing. Additionally, they featured dramatic nighttime locations, including dimly lit alleyways, the back entrances of upscale establishments, and cramped apartment buildings. And in the midst of it all, there is always a crime involved, whether it is a murder, a heist, kidnapping, blackmailing, etc.
As the noir cinema genre waned in popularity after the 1950s, it gave rise to Neo-Noir, a new take on the old style that included updated themes, aesthetic choices, and visual elements. For example, although most noir films took place in big metropolises like New York, Los Angeles, and San Francisco, neo-noir films were also set in small towns and even under the scorching desert sun. Neo-noir also expanded and started to integrate itself with various other genres. Katheryn Bigelow’s Strange Days (1995) can be classified as sci-fi neo-noir, as does Ridley Scott’s Blade Runner (1981), Michael Tolkin’s The Rapture (1991) can be termed a theological neo-noir, Clive Barker’s Lord of Illusions (1995) as a supernatural horror neo-noir, Paul Thomas Anderson’s Inherent Vice (2016) as a beach neo-noir, Quentin Tarantino’s Jackie Brown as a blaxploitation neo-noir, Christopher Nolan’s Memento (1999) as a psychological neo-noir, and so on. Thematically, neo-noir films evolved and began to tackle modern issues like drugs, sexuality, existentialism, urban ruin, alienation, race, and violence.
Sure, there were some great examples of Neo-noir films from the 1960s to the 1980s, such as Chinatown (1974), Point Blank (1967), Night Moves (1975), Thief (1981), Blood Simple (1984), The Long Goodbye (1973), and many others, but the genre never gained the same level of popularity as its predecessor. But that changed in the 1990s, and thanks to the films of directors like Quentin Tarantino, John Dahl, the Coen Brothers, Carl Franklin, Bill Duke, Curtis Hanson, and others, the genre rose to prominence, gaining success not only through the independent cinematic movement but also through the studio system. However, plenty of neo-noir films remained obscure or failed to receive the acclaim they merited. This article focuses on some of the underappreciated neo-noir films of the 1990s that went unnoticed yet are deserving of audiences’ attention. I have tried to include films that adhere to most of the classic noir structure, such as a flawed protagonist, a subversive femme fatale, high-contrast chiaroscuro lighting, a crime at the center, raw violence, unhappy endings, a cynical and bleak film world, and characters trapped in extraordinary situations from which they cannot escape.
This list will omit the neo-noir films that have gained the recognition they deserve over the years, such as L.A. Confidential (1997), Basic Instinct (1992), Memento (1999), Lost Highway (1997), Reservoir Dogs (1992), Jackie Brown (1997), Miller’s Crossing (1990), Fallen Angels (1995), etc., to make room for some lesser-known films that are worth watching.
15. Mulholland Falls (1996) – Lee Tamahori
Lee Tamahori, a filmmaker from New Zealand, follows the impressive Once There Were Warriors (1994) with a very underrated neo-noir crime thriller, Mulholland Falls (1996). Set in early ’50s Los Angeles, the film follows the four-member ‘Hat Squad’ team, led by Lieutenant Hoover (Nick Nolte), investigating the murder of a prostitute named Allison Pond (Jennifer Connelly), who also happens to be Hoover’s mistress. As the investigation progresses, they get embroiled in a larger conspiracy involving the U.S. Army general, the FBI, and the Atomic Energy Commission.
Mulholland Falls’ most impressive element is its central mystery, which begins with a murder and eventually branches into something far more significant, resulting in several tense sequences, most notably the desert sequence, which was the best in the film. This film could be a perfect double bill with Chinatown (1974), as both consist of common elements, including dangerous sex, corrupt authorities, and a massive environment-harming conspiracy. In addition to having every noir trait possible, the film is technically sound, thanks to Tamahori’s stylish direction and Richard Sylbert’s impeccable production design, which gives it an authentic ’50s LA noir vibe. Nick Nolte is the star of the show and gives an impressive performance, followed by Jennifer Connelly, who is very well presented in this film, exuding an enigmatic, mystical, and eerie presence throughout.
14. Payback (1999) – Brian Helgeland
Payback is the second cinematic adaptation of Donald Westlake’s 1962 novel The Hunter, following John Boorman’s excellent cult classic Point Blank (1967). While it is not on the same level as Point Blank, Payback is still a taut ’90s neo-noir revenge thriller that is dark and violent with twisted humor and a blast to watch. Porter (Mel Gibson) is a professional thief and former Marine who has been betrayed and left for dead by his criminal companions, Lynn (Deborah Kara Unger), his wife, and his friend Val (Gregg Henry), following a successful heist. Once he recovers, Porter seeks vengeance for the betrayal and wants his share of the money back. However, after learning that the money has been passed to “The Outfit,” a crime syndicate, Porter is forced to confront the mob, navigate through drug dealers and prostitutes, and overcome corrupt cops to retrieve what he thinks is rightfully his.
The unique aspect of this film is that just when you think the main villain has been eliminated, another adversary emerges out of nowhere, each one more dangerous and violent than the last. The screenplay is tightly scripted, fast-paced, and witty, with a couple of compelling plot twists; the violence is shocking and comes out of nowhere; and some of Porter’s strategies for outwitting his opponents are genuinely clever. Mel Gibson is superb in the part, and he delivers; he’s agile and charismatic, and the tough guy demeanor comes easily to him. While he lacks Lee Marvin’s towering presence in Point Blank, Gibson injects more ferocity into his character.
13. U Turn (1997) – Oliver Stone
When I first saw Oliver Stone’s U-Turn, I was not a big fan of it, but the film has grown on me considerably with subsequent viewings. Based on John Ridley’s novel Stray Dogs, the film has a simple plot in which Bobby (Sean Penn), a drifter and two-time con artist on his way to Vegas to pay off his debt to the Russian Mafia, becomes trapped in a small desert town called Superior in Arizona after his car breaks down. When a grocery store robbery leaves Bobby broke and unable to pay an eccentric and loathsome mechanic, Derrell (Billy Bob Thornton), to return his car, he finds himself stranded in town and encounters a series of bizarre characters, including a real estate agent, Jake McKenna (Nick Nolte), who offers him money to murder his sultry wife Grace (Jennifer Lopez). Bobby, who is willing to do anything to escape town, finds himself in a difficult situation when Grace seduces him and asks him to murder Jake for more money.
This film reminded me of Luis Bunuel’s 1962 film The Exterminating Angel, in which the characters can’t seem to escape a place no matter how hard they try; Bobby finds himself in a similar predicament, where he is unable to flee the town despite his efforts. Oliver Stone makes Bobby’s life a living hell by putting him through a series of terrifying ordeals and progressively dangerous situations, keeping viewers interested until the final moment in how he will escape that place. Despite playing a sleazy character, Sean Penn’s fantastic performance makes us root for and empathize with him. Another noteworthy quality is Stone’s creation of a surreal, cynical, and hopeless world, unlike any other neo-noir film of the 1990s.
12. The Hot Spot (1990) – Dennis Hopper
The Hot Spot is another film with a desert-like setting and a southern neo-noir vibe, featuring a plot in which the femme fatale urges the main protagonist to murder her husband. Harry Maddox (Don Johnson) is a drifter who arrives in a small town in Texas and gets a job as a car salesman at George Harshaw’s (Jerry Hardin) dealership. After discovering that all the local bank employees are volunteer firefighters, he sets fire to a building across the street to entice them away, then robs the bank and buries the cash. As a result, he is arrested as a primary suspect but released due to the alibi provided by George’s wife, Dolly (Virginia Madsen), who subsequently blackmails him into having an affair with her and murdering her husband. Meanwhile, Henry begins a relationship with the dealership’s accountant, Gloria Harper (Jennifer Connelly), who is dealing with her own problems after being blackmailed by a local criminal named Frank Sutton (William Sadler).
Although the film’s story isn’t particularly original, the laid-back vibe and the perfect blend of cheesiness and sleaziness made The Hot Spot irresistible to me. Despite its plodding pace and occasionally jarring tone, Hopper completely immerses you into that world to the point where you tune out the film’s flaws and follow the lead protagonist through every step of his journey. However, the film really comes to life with its two female leads, Gloria (played by Jennifer Connelly), who is one of the most endearing and adorable characters you’ll see, and Dolly (played by Virginia Madsen), who is one of the most seductive and sexiest femme fatales of all time. The film’s characters are all smoking, sweating, and speaking suave, snarky lines that I could watch for hours. The film has solid direction, pulpy cinematography, and a jazzy score that nicely complements the ‘90s neo-noir feel.
11. Croupier (1998) – Mike Hodges
Croupier is a British Neo-Noir film directed by Mike Hodges that gave Clive Owen his breakout role and helped kickstart his career in America. He plays Jack Manfred, an aspiring writer forced to work as a croupier in a London casino to make ends meet. Eventually, he gets drawn into the world of casinos, and the job takes a toll on his life, affecting his relationship with his girlfriend, Marion (Gina McKee). He soon finds himself seduced by Jani (Alex Kingston), a woman who encourages him to be the inside man for a planned robbery at the casino. Jack considers all the odds and decides to get involved in the theft, thinking he has everything under control, but things don’t turn out as planned.
The makers establish the casino world to perfection through the lens of Jack, a keen observer of the comings and goings of the place. The film is an excellent character study of Jack, a chilly, dispassionate voyeur who believes he knows himself better than anybody and has total control over his life—until the film’s climax when he is forced to examine how well he truly knows himself. The film’s intentionally ambiguous ending will push you to think critically, draw your own conclusions (there are a few), and ultimately come up with a satisfying conclusion by fitting together all the scattered pieces.
10. Strange Days (1995) – Kathryn Bigelow
Strange Days, directed by Kathryn Bigelow and written by James Cameron and Jay Cocks, expertly combines the elements of science fiction and film noir. Set during the final few days of 1999 in Los Angeles, the film stars Ralph Fiennes as Lenny Nero, an ex-cop turned street hustler who sells illegal MiniDiscs that record memories and physical sensations of the user. One night, he receives a disc that contains the memory of a prostitute’s murder. With the help of his friends, Mace (Angela Basset) and Max Peltier (Tom Sizemore), he sets out to investigate, gets pulled into the whirlwind of murder, betrayal, and blackmail, and discovers some shocking hidden secrets.
Kathryn Bigelow does an incredible job directing the film, particularly the action scenes, including the car chase and the point-of-view robbery scenes, which required designing and manufacturing a specialized camera for stability and smooth movement. The film explores many topics that are still important today, including police brutality, racism, misuse of power, voyeurism, etc., and Bigelow excels at creating a dystopian Los Angeles that has descended into chaos and is filled with violence, riots, and carnage. Even though the big surprise towards the end might not hold up after the first watch, the intriguing procedural buildup will ensure you remain engrossed with each subsequent viewing.
9. The Grifters (1990) – Stephen Frears
Produced by Martin Scorsese and written by Donald Westlake, based on Jim Thompson’s 1963 novel of the same name, The Grifters is a dark and disturbing neo-noir film that stars John Cusack as Roy Dillon, a small-time hustler who gets caught between two manipulative and powerful women who want to use him for their own profits and purposes. One is his mother, Lilly (Angelica Huston), a professional con artist who works for a dangerous mob and needs her son’s help to escape trouble since she is stealing money from them. The other woman is his sexy girlfriend, Myra (Annette Bening), another savvy con artist who wants Roy to work with her to pull off bigger scams.
The film is a masterful character study of the three flawed characters, who are so deep in the life of crime that they find themselves cornered and are headed towards their ultimate doom. There is a deep mistrust amongst these characters, who appear tough and confident on the outside but are plagued by shame, remorse, dread, and low self-esteem. Frears creates a cynical world in which love and maternal compassion take a back seat to exploiting others for personal gain. Angelica Huston and Annette Bening gave career-best performances and were nominated for Academy Awards for Best Actress and Supporting Actress, respectively.
8. The Last Seduction (1994) – John Dahl
John Dahl was one of the primary figures responsible for resurrecting the neo-noir genre in the 1990s. The Last Seduction is a quintessential ’90s neo-noir with one of the best femme fatales in the genre’s history. The film centers around Bridget Gregory, played by Linda Florentino in a career-best performance, who absconds with $700,000 of drug money from her husband Clay (Bill Pullman) and hides out in a small town where she meets and seduces a hapless and naïve insurance worker Mike Swale (Peter Berg) and manipulates him to kill Clay.
Steve Barancik’s screenplay is well-structured, flows organically, and never takes the audience for granted, as it goes to great lengths to ensure that the audience believes in some of the plot points in the film, no matter how farfetched they are, most notably Bridget’s efforts to persuade Mike to murder her husband. Additionally, the film benefits from Bridget’s in-depth characterization by giving her character clarity; she outsmarts everyone and acts without guilt or shame, regardless of the consequences. She is as unapologetic as it can get, which makes the character extraordinarily compelling and enjoyable to watch.
7. Devil in a Blue Dress (1995) – Carl Franklin
Based on Walter Mosley’s 1990 novel of the same name, Devil in a Blue Dress follows Easy (Denzel Washington), a jobless black World War II veteran in 1948 Los Angeles, who is offered a job by Dewitt Albright (Tom Sizemore) to find a missing woman. Desperate to earn some money and make his mortgage payments, Easy accepts the job and soon finds himself in the middle of a murderous political scandal.
The film will remind you of the hard-boiled classic ’40s noir films like The Big Sleep (1946) and The Maltese Falcon (1941) with its authentic ’40s LA setting, the costume design, the jazzy score, and the sharp, sarcastic dialogue. The film also benefits from a dense screenplay that keeps you engaged while providing a gripping central mystery. Denzel Washington delivers an electric performance as a black man attempting to survive in the post-war USA, where things were not easy going, especially for black people, and the film effectively evokes the cultural milieu of that era. Additionally, Don Cheadle’s appearance as Mouse, a crazed man who is highly unpredictable and an avid gun enthusiast, gives the film an extra boost. Devil in a Blue Dress is an intriguing whodunit noir that seamlessly transitions between humor and tension and is immersed in the real-world texture of black life in late 1940s Los Angeles.
6. Affliction (1997) – Paul Schrader
Paul Schrader is a master at portraying the protagonists’ psychological breakdowns, as evidenced by the many films he has written, including First Reformed (2017), Taxi Driver (1976), Light Sleeper (1992), etc. His 1997 neo-noir film Affliction is no different. Wade Whitehouse (Nick Nolte) is a down-on-luck cop whose life is in complete disarray due to his wife leaving him, his daughter’s reluctance to spend time with him, and the long history of violence and abuse he endures at the hands of his drunken, demanding father (James Coburn). However, when a businessman dies in a hunting accident, he refuses to accept it was accidental and begins an investigation, suspecting foul play. As a result, the confluence of Wade’s personal issues and his fixation on the case takes a toll on him, leading to his mental disintegration.
The film’s setting in snowy and cold New Hampshire certainly adds to the character’s isolation, and Schrader’s script manages to keep us on edge, where, on the one hand, we genuinely believe Wade’s suspicions and his interpretation of the death are plausible, while on the other hand, everything feels imaginative and far-fetched. Also, the progression of Wade’s psychological breakdown is expertly handled, which could have gone horribly wrong in the hands of the majority of filmmakers. Nick Nolte is exceptional as a tortured soul who tries his absolute best to hold things together but eventually loses his grip and descends into insanity. James Coburn also delivers a late-career best performance as Wade’s abusive, demanding father, earning him the Academy Award for Best Supporting Actor.
5. Deep Cover (1992) – Bill Duke
Not only is Deep Cover a superb neo-noir flick from the 1990s, but it’s also one of the best undercover films ever made. The film explores the themes of race, identity, and corruption and centers on Russell Stevens Jr. (Lawrence Fishburne), a black police officer whom the DEA recruits to infiltrate a drug smuggling organization that intends to grow its business with a new designer drug.
We’ve seen countless films about cops going undercover to infiltrate gangs, but this one stands out because of how Fisburne’s character is written. He is a man who contemplates his moral responsibility every step of the way. Throughout the film, Russell struggles with his dual identity, torn between his loyalty to the police force and his allegiance to the drug organization. The violence, the killings, and the wrongdoings he commits to get to the big players of the drug industry have a devastating impact on him as he suffers agonizingly through the aftermath. Fishburne’s narration is also a highlight of the film since it evokes the noir films of the 1940s and helps us understand his character’s internal struggle. The script, penned by Michael Tolkin—who also directed the impressive 1992 film The Rapture and authored films like The Player (1992) by Robert Altman—keeps us constantly engrossed as we navigate through the violent world of drug dealers and killers from Russell’s point of view.
4. One False Move (1992) – Carl Franklin
Carl Frankin’s breakthrough film, One False Move, begins with three criminals, Fantasia (Cynda Williams), Ray (Billy Bob Thronton, who also co-wrote the film), and Pluto (Michael Beach), escaping Los Angeles to a small Arkansas town after killing six people in a drug deal gone bad. Two LA detectives in charge of the case call the local sheriff of the Arkansas town, Dale Dixon (Bill Paxton), a family guy who is weary of his humdrum life and eager to work on the case and prove his worth as a police officer. However, as they attempt to apprehend the perpetrators, some hidden secrets about Dale’s past emerge, bringing unpleasant memories, and he is forced to face serious repercussions that he cannot avoid.
One False Move is a gripping neo-noir thriller that delves into the complexities of human nature and the destructive power of secrets. The film begins as a standard crime drama, but by the third act, which delves deeper into Dale’s character, it transforms into a poignant and heartfelt story. Bill Paxton demonstrates remarkable flexibility in his portrayal by convincingly expressing a wide range of emotions, from naivety and vulnerability to a man tortured by guilt over his past mistakes.
Read the full review of One False Move here
3. Bound (1996) – The Wachowskis
Bound, a perfect example of low-budget filmmaking, is among the most satisfying and fun films I’ve watched in my quest to compile this list. Corky (Gina Gershon) is a tough ex-convict who begins a torrid affair with her neighbor, Violet (Jennifer Tilly), and the two plan to steal millions of dollars from Violet’s boyfriend, Caesar (Joe Pantoliano), a mafia money launderer.
Bound is a fast-paced, sexy, funny, and intense film that captures your attention from the first scene and never takes a wrong turn throughout its runtime. All the action takes place in a single apartment building, and the tight spaces create a sense of claustrophobia, which only adds to the tension and suspense. The love story between Violet and Corky is quickly and effectively established, and their electrifying chemistry ignites the screen and serves as the film’s beating heart. Jennifer Tilly delivers a fantastic performance of someone who appears to be a simpleton with no wits but later transforms into a wise and fearless woman who outsmarts everyone. Joe Pantoliano gets some of the most challenging scenes in the film and completely masters them, particularly the elaborate sequence in which the mob leader arrives at his home to collect the money. From the love story, the film quickly shifts into a caper flick, and the entire caper section is a classic example of anxiety-induced filmmaking, with you literally holding your breath.
2. La Cérémonie (1995) – Claude Chabrol
La Ceremonie is Claude Chabrol’s late-career psychological neo-noir masterpiece that explores the themes of class and culture divide in a nuanced manner that Saltburn (2023) could only aspire to but could not achieve. Sophie (Sandrine Bonnaire) is a shy, quiet woman who gets a job as a housekeeper in a remote mansion in Brittany, France, owned by the affluent Lelièvre family. She rapidly befriends an energetic and outspoken postal worker named Jeannie (Isabelle Hupert), who pushes her to take a position against the bourgeois family, which has disastrous consequences.
Chabrol’s skillfully crafted screenplay does an intriguing thing in that it does not depict the Lelièvre family as horrible people. They do not come across as insulting or demeaning to Sophie, and from their perspective, they may seem helpful and friendly, but she may perceive them as condescending and petty. This difference between the two very different points of view is explored in detail through several scenes in the film. The writing also very cleverly hints that both women may or may not have a violent background, and this setup comes in handy during the film’s shocking climax, leaving the audience agape and saying, “Wow!” “That actually happened!”
La Ceremonie movie link: IMDB
1. A Simple Plan (1998) – Sam Raimi
A Simple Plan is Sam Raimi’s least talked-about film, his finest work to date, and my favorite neo-noir film from the 1990s. Two brothers, Hank (Bill Paxton) and Jacob (Billy Bob Thornton), and a hardware store manager, Lou (Brent Briscoe), find a stash of millions of dollars of cash inside a deserted plane. Their simple plan is to keep the money hidden (in Hank’s house) from the local authorities, and if nobody comes forward to claim it, they’ll split it up and leave town. However, their plan goes awry as the three men start to doubt each other’s trust, which in turn causes shocking results, including murder, deceit, and betrayal.
The film contains a taut screenplay by Scott Smith that constantly keeps you on your toes. After the trio finds the money, they encounter increasingly dangerous situations, drawing them closer to getting caught and heightening the audience’s anxiety. The film also delves deeply into the theme of greed, which few films have done successfully, demonstrating how even the most honest, educated, and law-abiding individual can succumb to it. Bridget Fonda’s character Sarah, Hank’s wife, is one of the most unique femme fatales in neo-noir films, operating from behind the scenes and coaxing Hank to do crazy things to ensure they don’t lose money. Every character is very well developed, and all the actors perform their respective roles to perfection, but Billy Bob Thornton stands out for his heartbreaking performance that earned him an Oscar nomination for Best Supporting Actor. Highly recommended.
Read the full review of A Simple Plan here
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