Want to know the best Film Noir movies? How about the worst Film Noir movies? Curious about Film Noir’s box office grosses or which Film Noir movie picked up the most Oscar® nominations? Need to know which Film Noir movie got the best reviews from critics and audiences and which got the worst reviews? Well you have come to the right place….because we have all of that information.
What is Film Noir? One definition of film noir is….a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly such that emphasize cynical attitudes and sexual motivations. Film noir in French means black film. Before researching this page…we pretty much thought a film noir movie was a black and white, dark, crime movie. Well after researching these movies for the last couple of months we no longer have any idea what a film noir movie really is anymore.
Part of our research was finding and reading lots of film noir books and lots of internet lists that named the best film noir movies. We found Film Noir Guide by Michael F. Keaney. Encyclopedia of Film Noir by Geoff Mayer and Brian McDonnell, Dark Cinema: American Film Noir in Cultural Perspective by Jon Tuska and Film Noir and the Cinema of Paranoia by Wheeler Winston Dixon very useful. Every book we read had a different definition of film noir. At one point it seemed that every movie ever made was a form of film noir.
So how did we come up with these 263 movies on the following table? First of all we picked one timeline…..1940-1959. Any movie labeled a film noir that was not made in those 19 years was excluded from our table. This rule pretty much destroyed many of the internet film noir lists. We actually found one internet list that only had 6 movies made before 1970 on their all-time film noir list. Next we created a excel spreadsheet. We used 11 different sources (books and internet resources). Once a movie was labeled a film noir movie in 5 different sources…it made our table.
Film Noir Movies Can Be Ranked 6 Ways In This Table
The really cool thing about this table is that it is “user-sortable”. Rank the movies anyway you want.
- Sort Film Noir movies by the stars or director of movie.
- Sort Film Noir movies by adjusted domestic box office grosses using current movie ticket cost (in millions)
- Sort Film Noir movies by yearly domestic box office rank
- Sort Film Noir movies how they were received by critics and audiences. 60% rating or higher should indicate a good movie.
- Sort by how many Oscar® nominations each Film Noir movie received and how many Oscar® wins each Film Noir movie won.
- Sort Film Noir movies by Ultimate Movie Rankings (UMR) Score. UMR Score puts box office, reviews and awards into a mathematical equation and gives each movie a score
| R | Movie (Year) | UMR Co-Star Links | Adj. B.O. Worldwide (mil) | Review | Oscar Nom / Win | UMR Score | ||||
|---|---|---|---|---|---|---|---|---|---|---|
| R | Movie (Year) | UMR Co-Star Links | Actual B.O. Domestic (mil) | Adj. B.O. Domestic (mil) | Adj. B.O. Worldwide (mil) | B.O. Rank by Year | Review | Oscar Nom / Win | UMR Score | S |
| 2 | All the King's Men (1949) AA Best Picture Win |
Broderick Crawford & John Ireland |
6.70 | 193.8 | 193.80 | 31 | 86 | 07 / 03 | 99.8 | |
| 1 | Double Indemnity (1944) AA Best Picture Nom |
Barbara Stanwyck & Edward G. Robinson |
8.40 | 327.5 | 327.50 | 21 | 94 | 07 / 00 | 99.7 | |
| 3 | Sunset Blvd. (1950) AA Best Picture Nom |
William Holden & Gloria Swanson |
6.70 | 174.9 | 174.90 | 24 | 90 | 11 / 03 | 99.5 | |
| 4 | The Treasure of the Sierra Madre (1948) AA Best Picture Nom |
Walter Huston & Humphrey Bogart |
6.10 | 189.1 | 336.80 | 45 | 90 | 04 / 03 | 99.5 | |
| 5 | The Snake Pit (1948) AA Best Picture Nom |
Olivia de Havilland | 10.80 | 337.2 | 337.20 | 5 | 84 | 06 / 01 | 99.2 | |
| 6 | A Place in the Sun (1951) AA Best Picture Nom |
Montgomery Clift & Elizabeth Taylor |
10.00 | 250.0 | 492.90 | 10 | 76 | 09 / 06 | 99.2 | |
| 6 | Suspicion (1941) AA Best Picture Nom |
Joan Fontaine & Cary Grant |
5.20 | 230.4 | 362.80 | 26 | 86 | 03 / 01 | 99.2 | |
| 6 | Mildred Pierce (1945) AA Best Picture Nom |
Joan Crawford & Ann Blyth |
9.70 | 355.7 | 580.40 | 16 | 82 | 06 / 01 | 99.1 | |
| 9 | The Third Man (1949) | Orson Welles & Joseph Cotten |
7.20 | 209.9 | 209.90 | 25 | 90 | 03 / 01 | 99.0 | |
| 8 | Laura (1944) | Clifton Webb & Gene Tierney |
6.50 | 252.0 | 252.00 | 39 | 86 | 05 / 01 | 98.9 | |
| 18 | Vertigo (1958) | James Stewart & Kim Novak |
9.10 | 190.5 | 190.50 | 17 | 91 | 02 / 00 | 98.8 | |
| 10 | The Killers (1946) | Burt Lancaster & Ava Gardner |
6.80 | 241.3 | 241.30 | 52 | 87 | 04 / 00 | 98.8 | |
| 11 | Key Largo (1948) | Humphrey Bogart & Lionel Barrymore |
8.70 | 271.4 | 359.30 | 16 | 88 | 01 / 01 | 98.8 | |
| 12 | The Big Sleep (1946) | Humphrey Bogart & Lauren Bacall |
8.10 | 289.6 | 469.90 | 32 | 89 | 00 / 00 | 98.7 | |
| 13 | Scarlet Street (1945) | Edward G. Robinson & Joan Bennett |
6.90 | 255.3 | 301.10 | 41 | 87 | 00 / 00 | 98.5 | |
| 13 | To Have and Have Not (1944) | Humphrey Bogart & Lauren Bacall |
11.80 | 460.2 | 662.40 | 8 | 87 | 00 / 00 | 98.5 | |
| 15 | Gilda (1946) | Rita Hayworth & Glenn Ford |
10.30 | 366.8 | 366.80 | 18 | 87 | 00 / 00 | 98.4 | |
| 17 | Crossfire (1947) AA Best Picture Nom |
Robert Ryan & Robert Mitchum |
6.80 | 228.3 | 294.50 | 41 | 76 | 05 / 00 | 98.4 | |
| 17 | The Woman in the Window (1944) | Edward G. Robinson & Joan Bennett |
6.50 | 253.3 | 419.00 | 36 | 85 | 01 / 00 | 98.3 | |
| 25 | I Want to Live! (1958) | Susan Hayward | 9.10 | 190.5 | 190.50 | 18 | 83 | 06 / 01 | 98.3 | |
| 18 | Leave Her to Heaven (1945) | Gene Tierney & Vincent Price |
14.20 | 521.3 | 521.30 | 3 | 81 | 04 / 01 | 98.2 | |
| 21 | The Stranger (1946) | Edward G. Robinson & Orson Welles |
6.10 | 217.2 | 217.20 | 59 | 85 | 01 / 00 | 98.2 | |
| 29 | The Maltese Falcon (1941) AA Best Picture Nom |
Humphrey Bogart & Peter Lorre |
3.40 | 153.7 | 269.60 | 68 | 91 | 03 / 00 | 98.2 | |
| 28 | The Naked City (1948) Uncredited Role |
Barry Fitzgerald | 6.30 | 197.4 | 197.40 | 40 | 81 | 03 / 02 | 98.1 | |
| 23 | The Postman Always Rings Twice (1946) | Lana Turner & John Garfield |
10.20 | 365.4 | 495.20 | 19 | 85 | 00 / 00 | 98.1 | |
| 21 | The Spiral Staircase (1946) | Ethel Barrymore | 7.40 | 265.4 | 265.40 | 45 | 84 | 01 / 00 | 98.1 | |
| 30 | White Heat (1949) | James Cagney & Virginia Mayo |
6.10 | 176.8 | 281.40 | 36 | 91 | 01 / 00 | 98.0 | |
| 32 | Brute Force (1947) | Burt Lancaster | 5.90 | 200.9 | 200.90 | 53 | 84 | 00 / 00 | 97.9 | |
| 33 | Johnny Guitar (1954) | Joan Crawford & Ernest Borgnine |
7.10 | 194.1 | 194.10 | 45 | 86 | 00 / 00 | 97.9 | |
| 24 | The Man From Laramie (1955) | James Stewart & Donald Crisp |
9.40 | 226.6 | 226.60 | 31 | 83 | 00 / 00 | 97.9 | |
| 26 | The Man with the Golden Arm (1955) | Frank Sinatra & Eleanor Parker |
11.70 | 280.2 | 280.20 | 22 | 80 | 03 / 00 | 97.6 | |
| 36 | The Letter (1940) AA Best Picture Nom |
Bette Davis & Gale Sondergaard |
3.50 | 154.3 | 245.40 | 42 | 84 | 07 / 00 | 97.4 | |
| 29 | Sorry, Wrong Number (1948) | Barbara Stanwyck & Burt Lancaster |
7.50 | 234.4 | 234.40 | 25 | 80 | 01 / 00 | 97.4 | |
| 31 | The Strange Love of Martha Ivers (1946) | Kirk Douglas & Barbara Stanwyck |
8.90 | 318.5 | 318.50 | 28 | 80 | 01 / 00 | 97.3 | |
| 39 | Champion (1949) | Kirk Douglas & Arthur Kennedy |
5.80 | 169.6 | 169.60 | 40 | 83 | 06 / 01 | 97.1 | |
| 38 | The Bad and the Beautiful (1952) | Kirk Douglas & Lana Turner |
6.60 | 149.4 | 212.90 | 37 | 85 | 06 / 05 | 97.1 | |
| 34 | The Blue Dahlia (1946) | Alan Ladd & Veronica Lake |
7.40 | 265.4 | 265.40 | 47 | 79 | 01 / 00 | 97.0 | |
| 35 | Dark Passage (1947) | Humphrey Bogart & Lauren Bacall |
8.10 | 273.9 | 375.50 | 29 | 78 | 00 / 00 | 96.8 | |
| 37 | Pursued (1947) | Robert Mitchum & Teresa Wright |
7.80 | 264.8 | 264.80 | 31 | 77 | 00 / 00 | 96.5 | |
| 43 | Winchester '73 (1950) | James Stewart & Rock Hudson |
6.40 | 167.4 | 167.40 | 32 | 87 | 00 / 00 | 96.4 | |
| 44 | The Seventh Veil (1945) | James Mason & Herbert Lom |
5.60 | 204.2 | 204.20 | 60 | 74 | 01 / 01 | 96.2 | |
| 46 | Nobody Lives Forever (1946) | John Garfield & Walter Brennan |
5.70 | 202.1 | 268.30 | 61 | 76 | 00 / 00 | 96.2 | |
| 49 | Detective Story (1951) | Eleanor Parker & Kirk Douglas |
8.00 | 200.0 | 200.00 | 15 | 72 | 04 / 00 | 96.0 | |
| 40 | Christmas Holiday (1944) | Gene Kelly & Deanna Durbin |
6.20 | 244.1 | 244.10 | 48 | 74 | 01 / 00 | 95.8 | |
| 48 | Sweet Smell of Success (1957) | Burt Lancaster & Tony Curtis |
6.40 | 143.5 | 143.50 | 36 | 92 | 00 / 00 | 95.7 | |
| 41 | Johnny Eager (1941) | Van Heflin & Lana Turner |
6.40 | 287.4 | 430.00 | 12 | 72 | 01 / 01 | 95.7 | |
| 42 | The Lodger (1944) | Merle Oberon | 6.50 | 252.0 | 252.00 | 43 | 74 | 00 / 00 | 95.6 | |
| 53 | Possessed (1947) | Joan Crawford & Van Heflin |
5.40 | 181.4 | 181.40 | 63 | 78 | 01 / 00 | 95.6 | |
| 45 | A Stolen Life (1946) | Bette Davis & Glenn Ford |
8.70 | 311.0 | 461.90 | 29 | 72 | 01 / 00 | 95.4 | |
| 58 | Road House (1948) | Richard Widmark | 6.30 | 197.8 | 197.80 | 38 | 73 | 00 / 00 | 95.3 | |
| 55 | Shadow of a Doubt (1943) | Joseph Cotten & Teresa Wright |
3.40 | 142.9 | 142.90 | 90 | 90 | 01 / 00 | 95.3 | |
| 48 | Call Northside 777 (1948) | James Stewart & Thelma Ritter |
7.10 | 222.0 | 222.00 | 32 | 72 | 00 / 00 | 95.3 | |
| 57 | Boomerang! (1947) | Dana Andrews | 6.10 | 205.4 | 205.40 | 47 | 70 | 01 / 00 | 94.9 | |
| 50 | Dragonwyck (1946) | Vincent Price & Gene Tierney |
8.10 | 289.6 | 289.60 | 33 | 71 | 00 / 00 | 94.9 | |
| 51 | Conflict (1945) | Humphrey Bogart & Sydney Greenstreet |
6.30 | 231.3 | 372.70 | 48 | 70 | 00 / 00 | 94.7 | |
| 52 | Love Letters (1945) | Jennifer Jones & Joseph Cotten |
8.30 | 306.4 | 306.40 | 31 | 67 | 04 / 00 | 94.6 | |
| 61 | High Sierra (1941) | Humphrey Bogart | 3.40 | 153.1 | 214.40 | 69 | 85 | 00 / 00 | 94.6 | |
| 55 | My Favorite Brunette (1947) | Bob Hope & Dorothy Lamour |
8.40 | 283.1 | 283.10 | 26 | 70 | 00 / 00 | 94.6 | |
| 65 | The Unsuspected (1947) | Claude Rains & Joan Caulfield |
5.40 | 182.6 | 182.60 | 61 | 75 | 00 / 00 | 94.5 | |
| 64 | The Big Clock (1948) | Charles Laughton & Ray Milland |
5.30 | 164.5 | 164.50 | 64 | 81 | 00 / 00 | 94.4 | |
| 63 | Bad Day at Black Rock (1955) | Spencer Tracy & Lee Marvin |
5.70 | 137.4 | 262.50 | 56 | 87 | 03 / 00 | 94.4 | |
| 56 | The Dark Mirror (1946) | Olivia de Havilland | 7.40 | 265.4 | 265.40 | 48 | 68 | 01 / 00 | 94.3 | |
| 69 | The Desperate Hours (1955) | Humphrey Bogart & Fredric March |
7.10 | 171.7 | 171.70 | 41 | 78 | 00 / 00 | 94.3 | |
| 63 | Deception (1946) | Bette Davis & Claude Rains |
5.80 | 205.8 | 314.90 | 60 | 69 | 00 / 00 | 94.2 | |
| 59 | Keeper of the Flame (1942) | Katharine Hepburn & Spencer Tracy |
6.30 | 269.7 | 396.80 | 24 | 68 | 00 / 00 | 94.1 | |
| 66 | Out of the Past (1947) | Kirk Douglas & Robert Mitchum |
4.00 | 136.5 | 193.60 | 87 | 88 | 00 / 00 | 94.1 | |
| 71 | The Gunfighter (1950) | Gregory Peck & Karl Malden |
5.60 | 145.1 | 145.10 | 48 | 84 | 01 / 00 | 93.9 | |
| 73 | A Woman's Face (1941) | Joan Crawford & Melvyn Douglas |
3.50 | 155.1 | 274.60 | 67 | 82 | 00 / 00 | 93.9 | |
| 61 | Humoresque (1946) | Joan Crawford & John Garfield |
6.20 | 220.2 | 328.10 | 57 | 67 | 01 / 00 | 93.9 | |
| 71 | Strangers on a Train (1951) | Ruth Roman | 5.10 | 127.7 | 209.70 | 57 | 90 | 00 / 00 | 93.8 | |
| 76 | The Wild One (1953) | Marlon Brando & Lee Marvin |
8.60 | 179.9 | 179.90 | 25 | 74 | 00 / 00 | 93.8 | |
| 75 | Kiss of Death (1947) Uncredited Role |
Richard Widmark & Victor Mature |
4.50 | 150.7 | 150.70 | 78 | 81 | 02 / 00 | 93.6 | |
| 79 | I Wake Up Screaming (1941) | Betty Grable & Victor Mature |
4.00 | 180.0 | 180.00 | 46 | 73 | 00 / 00 | 93.5 | |
| 75 | The Naked Spur (1953) | James Stewart & Robert Ryan |
6.80 | 142.0 | 142.00 | 40 | 84 | 01 / 00 | 93.5 | |
| 66 | Cloak and Dagger (1946) | Gary Cooper | 6.80 | 241.3 | 241.30 | 53 | 66 | 00 / 00 | 93.5 | |
| 67 | The House on 92nd Street (1945) | William Eythe | 6.90 | 255.3 | 255.30 | 38 | 64 | 01 / 01 | 93.3 | |
| 74 | The Two Mrs. Carrolls (1947) | Humphrey Bogart & Barbara Stanwyck |
6.20 | 209.3 | 325.90 | 46 | 66 | 00 / 00 | 93.2 | |
| 70 | Calcutta (1946) | Alan Ladd & Gail Russell |
7.60 | 270.3 | 270.30 | 39 | 65 | 00 / 00 | 93.1 | |
| 82 | Chicago Deadline (1949) | Alan Ladd & Donna Reed |
5.80 | 169.6 | 169.60 | 41 | 75 | 00 / 00 | 93.0 | |
| 82 | House of Strangers (1949) | Susan Hayward & Edward G. Robinson |
5.60 | 161.5 | 161.50 | 46 | 77 | 00 / 00 | 93.0 | |
| 85 | Flamingo Road (1949) | Joan Crawford & Sydney Greenstreet |
6.30 | 182.7 | 233.90 | 33 | 70 | 00 / 00 | 92.9 | |
| 80 | Body and Soul (1947) | John Garfield | 3.80 | 127.8 | 127.80 | 91 | 84 | 03 / 01 | 92.9 | |
| 83 | They Drive By Night (1940) | Humphrey Bogart & Ann Sheridan |
3.10 | 139.3 | 203.60 | 48 | 83 | 00 / 00 | 92.7 | |
| 84 | Odd Man Out (1947) | James Mason | 3.80 | 127.8 | 127.80 | 90 | 86 | 01 / 00 | 92.5 | |
| 84 | Murder, My Sweet (1944) | Dick Powell | 3.70 | 144.9 | 216.10 | 89 | 81 | 00 / 00 | 92.4 | |
| 79 | Flesh and Fantasy (1943) | Barbara Stanwyck & Edward G. Robinson |
5.10 | 214.3 | 214.30 | 55 | 63 | 00 / 00 | 92.2 | |
| 88 | The Paradine Case (1947) | Charles Laughton & Gregory Peck |
5.90 | 200.9 | 200.90 | 54 | 62 | 01 / 00 | 92.1 | |
| 86 | Invasion of the Body Snatchers (1956) | Kevin McCarthy | 6.00 | 136.4 | 136.40 | 47 | 82 | 00 / 00 | 91.8 | |
| 88 | A Double Life (1947) | Ronald Colman & Shelley Winters |
4.60 | 155.2 | 155.20 | 77 | 69 | 04 / 02 | 91.5 | |
| 93 | The Street with No Name (1948) | Richard Widmark | 6.20 | 193.3 | 193.30 | 43 | 63 | 00 / 00 | 91.5 | |
| 94 | Confidential Agent (1945) | Lauren Bacall & Peter Lorre |
4.50 | 164.9 | 279.50 | 80 | 71 | 00 / 00 | 91.2 | |
| 94 | The Red House (1947) | Edward G. Robinson | 4.60 | 155.2 | 155.20 | 76 | 74 | 00 / 00 | 91.2 | |
| 92 | T-Men (1947) | Dennis O'Keefe & Directed by Anthony Mann |
4.30 | 146.1 | 146.10 | 79 | 76 | 01 / 00 | 91.2 | |
| 93 | City for Conquest (1940) | James Cagney & Anthony Quinn |
3.30 | 147.4 | 228.80 | 45 | 76 | 00 / 00 | 91.0 | |
| 89 | Attack (1956) | Lee Marvin & Jack Palance |
5.70 | 129.9 | 129.90 | 49 | 82 | 00 / 00 | 91.0 | |
| 97 | Fallen Angel (1945) | Dana Andrews & Alice Faye |
4.20 | 153.2 | 153.20 | 83 | 74 | 00 / 00 | 90.8 | |
| 96 | Pickup on South Street (1953) | Thelma Ritter & Richard Widmark |
5.80 | 119.9 | 119.90 | 52 | 83 | 01 / 00 | 90.6 | |
| 100 | Rope of Sand (1949) | Burt Lancaster & Peter Lorre |
6.20 | 181.7 | 181.70 | 34 | 64 | 00 / 00 | 90.6 | |
| 99 | This Gun For Hire (1942) | Alan Ladd & Veronica Lake |
3.10 | 131.8 | 131.80 | 89 | 80 | 00 / 00 | 90.5 | |
| 98 | The Ox-Bow Incident (1942) AA Best Picture Nom |
Henry Fonda & Anthony Quinn |
2.10 | 92.4 | 92.40 | 122 | 85 | 01 / 00 | 90.3 | |
| 102 | The Macomber Affair (1947) | Gregory Peck & Joan Bennett |
4.30 | 146.1 | 146.10 | 80 | 74 | 00 / 00 | 90.3 | |
| 104 | Knock On Any Door (1949) | Humphrey Bogart | 5.80 | 169.6 | 169.60 | 39 | 67 | 00 / 00 | 90.1 | |
| 108 | Affair in Trinidad (1952) | Rita Hayworth & Glenn Ford |
7.50 | 170.5 | 170.50 | 24 | 65 | 01 / 00 | 90.0 | |
| 102 | Niagara (1953) | Marilyn Monroe & Joseph Cotten |
7.10 | 148.4 | 148.40 | 34 | 73 | 00 / 00 | 90.0 | |
| 105 | Criss Cross (1949) | Burt Lancaster | 4.00 | 117.1 | 117.10 | 90 | 82 | 00 / 00 | 89.7 | |
| 103 | In a Lonely Place (1950) | Humphrey Bogart | 3.90 | 102.3 | 102.30 | 82 | 87 | 00 / 00 | 89.7 | |
| 109 | Dead Reckoning (1947) | Humphrey Bogart | 4.70 | 158.0 | 158.00 | 75 | 69 | 00 / 00 | 89.6 | |
| 107 | Sudden Fear (1952) | Jack Palance & Joan Crawford |
4.60 | 104.2 | 104.20 | 67 | 82 | 04 / 00 | 89.4 | |
| 106 | Ride the Pink Horse (1947) | Robert Montgomery & Thomas Gomez |
3.40 | 114.1 | 114.10 | 103 | 81 | 01 / 00 | 89.3 | |
| 109 | Unfaithfully Yours (1948) | Rex Harrison | 3.40 | 107.1 | 107.10 | 99 | 82 | 00 / 00 | 88.5 | |
| 109 | The Asphalt Jungle (1950) | Sam Jaffe & Marilyn Monroe |
3.10 | 80.1 | 159.40 | 104 | 87 | 04 / 00 | 88.3 | |
| 115 | The Furies (1950) | Barbara Stanwyck | 4.60 | 119.0 | 119.00 | 65 | 77 | 01 / 00 | 88.3 | |
| 113 | The Enforcer (1951) | Humphrey Bogart | 4.50 | 113.1 | 205.20 | 74 | 79 | 00 / 00 | 88.3 | |
| 116 | His Kind of Woman (1951) | Robert Mitchum & Vincent Price |
5.70 | 142.9 | 142.90 | 46 | 69 | 00 / 00 | 88.1 | |
| 118 | Daisy Kenyon (1947) | Henry Fonda & Joan Crawford |
4.70 | 159.8 | 159.80 | 74 | 64 | 00 / 00 | 88.0 | |
| 114 | Panic in the Streets (1950) | Richard Widmark & Elia Kazan |
3.40 | 89.3 | 89.30 | 97 | 84 | 01 / 01 | 87.9 | |
| 117 | Compulsion (1959) | Orson Welles & Dean Stockwell |
5.10 | 107.1 | 107.10 | 48 | 80 | 00 / 00 | 87.8 | |
| 117 | Ace in the Hole (1951) | Kirk Douglas | 3.70 | 92.9 | 92.90 | 97 | 83 | 01 / 00 | 87.6 | |
| 122 | Crossroads (1942) | William Powell & Hedy Lamarr |
4.40 | 187.6 | 285.80 | 60 | 54 | 00 / 00 | 87.5 | |
| 122 | The Glass Key (1942) | Alan Ladd & Veronica Lake |
2.80 | 121.9 | 121.90 | 102 | 74 | 00 / 00 | 87.4 | |
| 123 | The Great Sinner (1949) | Gregory Peck & Ava Gardner |
5.60 | 161.5 | 161.50 | 44 | 61 | 00 / 00 | 87.3 | |
| 125 | I Walk Alone (1947) | Burt Lancaster & Kirk Douglas |
5.70 | 191.7 | 191.70 | 56 | 52 | 00 / 00 | 87.2 | |
| 117 | The Big Heat (1953) | Lee Marvin & Glenn Ford |
3.80 | 78.9 | 78.90 | 99 | 87 | 00 / 00 | 87.2 | |
| 123 | Kiss Tomorrow Goodbye (1950) | James Cagney | 4.90 | 126.5 | 126.50 | 54 | 72 | 00 / 00 | 87.1 | |
| 121 | Monsieur Verdoux (1947) | Charles Chaplin | 2.30 | 77.6 | 77.60 | 130 | 86 | 01 / 00 | 87.0 | |
| 130 | Rawhide (1951) | Susan Hayward & Tyrone Power |
5.60 | 139.3 | 139.30 | 52 | 67 | 00 / 00 | 86.6 | |
| 131 | Kiss The Blood Off My Hands (1948) | Burt Lancaster & Joan Fontaine |
4.20 | 131.6 | 131.60 | 85 | 69 | 00 / 00 | 86.5 | |
| 126 | Touch of Evil (1958) | Marlene Dietrich & Orson Welles |
3.20 | 67.5 | 67.50 | 67 | 89 | 00 / 00 | 86.4 | |
| 126 | Raw Deal (1948) | Dennis O'Keefe | 3.20 | 98.9 | 98.90 | 100 | 79 | 00 / 00 | 86.4 | |
| 130 | They Won't Believe Me (1947) | Susan Hayward & Robert Young |
3.60 | 120.5 | 184.40 | 95 | 72 | 00 / 00 | 86.3 | |
| 129 | The Harder They Fall (1956) | Humphrey Bogart & Rod Steiger |
3.90 | 87.7 | 87.70 | 90 | 81 | 01 / 00 | 86.2 | |
| 130 | Portrait of Jennie (1948) | Jennifer Jones & Joseph Cotten |
2.60 | 80.7 | 80.70 | 119 | 81 | 02 / 01 | 86.2 | |
| 133 | No Way Out (1950) | Sidney Poitier & Richard Widmark |
3.90 | 100.4 | 100.40 | 83 | 77 | 01 / 00 | 86.0 | |
| 134 | Suddenly (1954) | Frank Sinatra | 4.00 | 108.7 | 108.70 | 82 | 75 | 00 / 00 | 86.0 | |
| 138 | High Wall (1947) | Robert Taylor | 4.20 | 141.8 | 239.00 | 82 | 64 | 00 / 00 | 86.0 | |
| 135 | The Dark Corner (1946) | Lucille Ball & Clifton Webb |
2.70 | 96.5 | 96.50 | 108 | 78 | 00 / 00 | 85.8 | |
| 137 | The Damned Don't Cry (1950) | Joan Crawford & David Brian |
4.40 | 114.6 | 164.50 | 69 | 72 | 00 / 00 | 85.7 | |
| 138 | Cornered (1945) | Dick Powell | 3.70 | 136.3 | 185.40 | 89 | 65 | 00 / 00 | 85.6 | |
| 142 | Blood on the Moon (1948) | Robert Mitchum & Walter Brennan |
5.60 | 173.9 | 217.10 | 58 | 53 | 00 / 00 | 85.4 | |
| 140 | Lust For Gold (1949) | Ida Lupino & Glenn Ford |
4.20 | 120.7 | 120.70 | 85 | 69 | 00 / 00 | 85.1 | |
| 139 | Night and the City (1950) | Richard Widmark & Gene Tierney |
3.60 | 92.9 | 92.90 | 95 | 77 | 00 / 00 | 85.0 | |
| 147 | Smash-Up: The Story of a Woman (1947) | Susan Hayward & Walter Wanger |
4.70 | 160.2 | 227.50 | 72 | 54 | 02 / 00 | 85.0 | |
| 141 | Hangover Square (1945) | Laird Cregar | 2.80 | 101.8 | 101.80 | 107 | 74 | 00 / 00 | 85.0 | |
| 141 | All My Sons (1948) | Burt Lancaster & Edward G. Robinson |
2.90 | 90.5 | 90.50 | 106 | 78 | 00 / 00 | 84.9 | |
| 142 | Force of Evil (1948) | John Garfield | 2.50 | 78.0 | 88.10 | 124 | 81 | 00 / 00 | 84.6 | |
| 146 | Clash by Night (1952) | Marilyn Monroe & Barbara Stanwyck |
4.20 | 94.7 | 94.70 | 84 | 75 | 00 / 00 | 84.6 | |
| 145 | Where the Sidewalk Ends (1950) | Dana Andrews & Gene Tierney |
2.90 | 74.4 | 74.40 | 110 | 82 | 00 / 00 | 84.5 | |
| 148 | They Live By Night (1948) | Farley Granger | 2.40 | 74.0 | 74.00 | 129 | 81 | 00 / 00 | 84.2 | |
| 148 | Don't Bother To Knock (1952) | Simone Signoret & Véra Clouzot |
4.20 | 94.7 | 94.70 | 76 | 74 | 00 / 00 | 84.2 | |
| 149 | Cry of The City (1948) | Shelley Winters & Victor Mature |
2.60 | 82.2 | 82.20 | 115 | 78 | 00 / 00 | 84.1 | |
| 150 | I Confess (1953) | Montgomery Clift | 4.40 | 91.0 | 184.30 | 80 | 75 | 00 / 00 | 83.9 | |
| 155 | Beyond the Forest (1949) | Bette Davis & Joseph Cotten |
3.70 | 107.5 | 140.30 | 95 | 68 | 01 / 00 | 83.5 | |
| 153 | The Breaking Point (1950) | John Garfield | 3.00 | 78.1 | 128.00 | 105 | 78 | 00 / 00 | 83.5 | |
| 160 | Ruby Gentry (1952) | Charlton Heston & Jennifer Jones |
4.90 | 110.5 | 110.50 | 63 | 68 | 00 / 00 | 83.3 | |
| 155 | The Wrong Man (1956) | Henry Fonda | 3.30 | 75.6 | 138.60 | 102 | 79 | 00 / 00 | 83.3 | |
| 151 | The Lady From Shanghai (1947) | Orson Welles & Rita Hayworth |
2.00 | 67.6 | 67.60 | 136 | 81 | 00 / 00 | 83.2 | |
| 162 | Station West (1948) | Dick Powell & Raymond Burr |
3.60 | 113.1 | 141.00 | 97 | 67 | 00 / 00 | 83.2 | |
| 164 | The Man From Colorado (1948) | William Holden & Glenn Ford |
5.30 | 164.5 | 164.50 | 67 | 50 | 00 / 00 | 83.1 | |
| 159 | The Set-Up (1949) | Robert Ryan | 2.30 | 66.6 | 97.70 | 135 | 81 | 00 / 00 | 82.8 | |
| 154 | Nightmare Alley (1947) | Tyrone Power & Joan Blondell |
1.50 | 50.2 | 50.20 | 145 | 86 | 00 / 00 | 82.7 | |
| 162 | Fixed Bayonets! (1951) | Richard Basehart & Directed by Sam Fuller |
4.10 | 103.6 | 103.60 | 86 | 69 | 00 / 00 | 82.7 | |
| 160 | Violent Saturday (1955) | Lee Marvin & Victor Mature |
3.60 | 85.9 | 85.90 | 91 | 74 | 00 / 00 | 82.6 | |
| 157 | The Killing (1956) | Sterling Hayden & Directed by Stanley Kubrick |
1.80 | 39.9 | 39.90 | 148 | 89 | 00 / 00 | 82.6 | |
| 165 | Gun Crazy (1950) | Peggy Cummins & John Dall |
2.40 | 61.4 | 61.40 | 134 | 81 | 00 / 00 | 82.1 | |
| 165 | He Ran All The Way (1951) | John Garfield & Shelley Winters |
2.90 | 71.4 | 71.40 | 132 | 77 | 00 / 00 | 81.9 | |
| 164 | D.O.A. (1949) | Edmond O'Brien | 2.10 | 59.9 | 59.90 | 141 | 81 | 00 / 00 | 81.9 | |
| 163 | The Night of the Hunter (1955) | Robert Mitchum & Directed by Charles Laughton |
0.90 | 20.6 | 20.60 | 181 | 93 | 00 / 00 | 81.8 | |
| 171 | Desperate (1947) | Steve Brodie | 3.00 | 100.5 | 100.50 | 115 | 68 | 00 / 00 | 81.8 | |
| 168 | Pitfall (1948) | Dick Powell & Raymond Burr |
2.90 | 90.5 | 90.50 | 104 | 71 | 00 / 00 | 81.7 | |
| 172 | Framed (1947) | Glenn Ford & Janis Carter |
3.40 | 114.1 | 114.10 | 101 | 63 | 00 / 00 | 81.7 | |
| 173 | The Bribe (1949) | Ava Gardner & Vincent Price |
4.30 | 125.9 | 202.70 | 72 | 59 | 00 / 00 | 81.6 | |
| 173 | Deadline At Dawn (1946) | Susan Hayward | 3.00 | 108.6 | 108.60 | 102 | 65 | 00 / 00 | 81.5 | |
| 170 | Autumn Leaves (1956) | Joan Crawford & Cliff Robertson |
3.10 | 71.4 | 71.40 | 107 | 76 | 00 / 00 | 81.5 | |
| 174 | Three Strangers (1946) | Peter Lorre & Sydney Greenstreet |
2.80 | 99.7 | 159.00 | 105 | 66 | 00 / 00 | 80.9 | |
| 176 | Moss Rose (1947) | Vincent Price & Victor Mature |
3.10 | 105.0 | 105.00 | 110 | 64 | 00 / 00 | 80.7 | |
| 175 | Whirlpool (1950) | Gene Tierney | 3.30 | 85.6 | 85.60 | 100 | 70 | 00 / 00 | 80.6 | |
| 178 | The File on Thelma Jordon (1949) | Barbara Stanwyck | 2.60 | 76.7 | 76.70 | 122 | 72 | 00 / 00 | 80.2 | |
| 177 | Angel Face (1953) | Robert Mitchum & Jean Simmons |
3.00 | 63.1 | 63.10 | 132 | 76 | 00 / 00 | 80.1 | |
| 178 | Act of Violence (1949) | Van Heflin & Janet Leigh |
2.00 | 56.8 | 91.20 | 146 | 78 | 00 / 00 | 79.8 | |
| 179 | Ride Lonesome (1959) | James Coburn & Randolph Scott |
2.70 | 56.5 | 56.50 | 89 | 78 | 00 / 00 | 79.7 | |
| 179 | The Narrow Margin (1952) | Charles McGraw | 1.70 | 37.7 | 37.70 | 173 | 83 | 01 / 00 | 79.7 | |
| 184 | Storm Warning (1950) | Doris Day & Ginger Rogers |
3.60 | 93.0 | 93.00 | 93 | 66 | 00 / 00 | 79.7 | |
| 182 | Rancho Notorious (1952) | Marlene Dietrich & Arthur Kennedy |
2.50 | 56.8 | 56.80 | 136 | 77 | 00 / 00 | 79.5 | |
| 183 | Kiss Me Deadly (1955) | Ralph Meeker | 2.10 | 49.9 | 49.90 | 137 | 79 | 00 / 00 | 79.4 | |
| 192 | Cry Wolf (1947) | Barbara Stanwyck & Errol Flynn |
5.00 | 168.2 | 245.60 | 69 | 42 | 00 / 00 | 79.4 | |
| 191 | The Racket (1951) | Robert Mitchum & Robert Ryan |
5.00 | 125.0 | 125.00 | 60 | 55 | 00 / 00 | 79.2 | |
| 189 | Union Station (1950) | William Holden & Nancy Olson |
4.10 | 106.0 | 106.00 | 76 | 61 | 00 / 00 | 79.2 | |
| 188 | Sleep, My Love (1948) | Claudette Colbert & Don Ameche |
2.40 | 75.5 | 75.50 | 126 | 71 | 00 / 00 | 79.1 | |
| 184 | On Dangerous Ground (1951) | Ida Lupino & Robert Ryan |
1.90 | 46.8 | 46.80 | 159 | 80 | 00 / 00 | 79.1 | |
| 186 | Fourteen Hours (1951) | Grace Kelly | 2.00 | 50.0 | 50.00 | 156 | 78 | 01 / 00 | 78.9 | |
| 194 | Whistle Stop (1946) | Ava Gardner & George Raft |
3.90 | 140.0 | 140.00 | 85 | 50 | 00 / 00 | 78.7 | |
| 192 | Baby Face Nelson (1957) | Mickey Rooney & Carolyn Jones |
3.60 | 79.7 | 79.70 | 69 | 69 | 00 / 00 | 78.6 | |
| 188 | Diabolique (1955) | Simone Sigornet | 1.00 | 24.0 | 24.00 | 171 | 86 | 00 / 00 | 78.2 | |
| 193 | The Big Combo (1955) | Cornel Wilde & Richard Conte |
1.90 | 44.6 | 44.60 | 141 | 78 | 00 / 00 | 77.7 | |
| 197 | The Mask of Dimitrios (1944) | Peter Lorre & Sydney Greenstreet |
1.30 | 51.7 | 168.30 | 135 | 76 | 00 / 00 | 77.4 | |
| 196 | Detour (1945) | Tom Neal & Ann Savage |
1.00 | 38.3 | 38.30 | 137 | 80 | 00 / 00 | 77.3 | |
| 197 | Witness to Murder (1954) | Barbara Stanwyck & George Sanders |
2.90 | 77.6 | 77.60 | 106 | 67 | 00 / 00 | 77.3 | |
| 200 | Appointment with Danger (1950) | Alan Ladd & Jack Webb |
4.10 | 107.9 | 107.90 | 74 | 58 | 00 / 00 | 77.3 | |
| 199 | One Way Street (1950) | James Mason & Dan Duryea |
3.70 | 96.7 | 96.70 | 89 | 61 | 00 / 00 | 77.2 | |
| 202 | The Fallen Sparrow (1943) | Maureen O'Hara & John Garfield |
3.60 | 150.8 | 206.40 | 86 | 43 | 01 / 00 | 77.2 | |
| 200 | Angels Over Broadway (1940) | Rita Hayworth & Douglas Fairbanks Jr. |
2.00 | 91.2 | 91.20 | 96 | 62 | 01 / 00 | 77.0 | |
| 195 | Rififi (1955) | Jules Dassin | 0.10 | 1.4 | 1.40 | 208 | 91 | 00 / 00 | 77.0 | |
| 207 | Second Chance (1953) | Robert Mitchum & Linda Darnell |
6.10 | 126.3 | 126.30 | 46 | 51 | 00 / 00 | 76.5 | |
| 202 | Two Smart People (1946) | Lucille Ball | 2.40 | 84.1 | 115.70 | 116 | 64 | 00 / 00 | 76.3 | |
| 206 | I Walked with a Zombie (1943) | Frances Dee | 1.00 | 42.4 | 42.40 | 147 | 76 | 00 / 00 | 75.2 | |
| 204 | Odds Against Tomorrow (1959) | Robert Ryan & Harry Belafonte |
1.80 | 37.2 | 37.20 | 121 | 77 | 00 / 00 | 75.2 | |
| 205 | Night Has a Thousand Eyes (1948) | Edward G. Robinson & Gail Russell |
2.00 | 61.7 | 61.70 | 140 | 69 | 00 / 00 | 75.0 | |
| 209 | Serenade (1956) | Joan Fontaine & Mario Lanza |
4.30 | 97.4 | 179.00 | 73 | 58 | 00 / 00 | 74.7 | |
| 209 | Stranger on the Third Floor (1940) | Peter Lorre | 1.10 | 48.7 | 48.70 | 158 | 72 | 00 / 00 | 73.8 | |
| 212 | Crisis (1950) | Cary Grant & Jose Ferrer |
2.50 | 66.3 | 104.40 | 120 | 66 | 00 / 00 | 73.5 | |
| 216 | The Long Night (1947) | Henry Fonda | 2.70 | 91.3 | 91.30 | 121 | 58 | 00 / 00 | 73.5 | |
| 215 | The Las Vegas Story (1952) | Vincent Price & Jane Russell |
3.30 | 75.8 | 75.80 | 110 | 63 | 00 / 00 | 73.5 | |
| 208 | Journey Into Fear (1943) | Orson Welles & Joseph Cotten |
1.30 | 53.7 | 53.70 | 135 | 70 | 00 / 00 | 73.4 | |
| 214 | Queen Bee (1955) | Joan Crawford & Fay Wray |
2.80 | 67.0 | 67.00 | 115 | 64 | 02 / 00 | 73.4 | |
| 211 | Edge of the City (1957) | Sidney Poitier | 2.20 | 49.7 | 49.70 | 108 | 71 | 00 / 00 | 73.2 | |
| 219 | The Lady Gambles (1949) | Barbara Stanwyck & Tony Curtis |
3.10 | 88.8 | 88.80 | 115 | 59 | 00 / 00 | 73.1 | |
| 213 | Kansas City Confidential (1952) | John Payne | 1.50 | 34.1 | 34.10 | 178 | 76 | 00 / 00 | 72.9 | |
| 217 | Moontide (1942) | Claude Rains | 1.20 | 53.3 | 53.30 | 161 | 69 | 01 / 00 | 72.8 | |
| 218 | Black Tuesday (1954) | Edward G. Robinson | 1.80 | 49.1 | 49.10 | 127 | 71 | 00 / 00 | 72.7 | |
| 221 | Born To Be Bad (1950) | Joan Fontaine & Robert Ryan |
2.70 | 70.7 | 106.00 | 116 | 64 | 00 / 00 | 72.6 | |
| 222 | The Trap (1959) | Richard Widmark | 3.10 | 65.5 | 65.50 | 79 | 65 | 00 / 00 | 72.4 | |
| 220 | Man in the Shadow (1957) | Orson Welles & Jeff Chandler |
2.00 | 44.3 | 44.30 | 116 | 72 | 00 / 00 | 72.3 | |
| 223 | Another Man's Poison (1951) | Bette Davis | 2.40 | 60.4 | 60.40 | 140 | 67 | 00 / 00 | 72.2 | |
| 222 | The Secret Fury (1950) | Claudette Colbert & Robert Ryan |
2.40 | 63.2 | 96.70 | 125 | 65 | 00 / 00 | 71.7 | |
| 227 | Julie (1956) | Doris Day | 4.00 | 91.9 | 168.80 | 77 | 54 | 02 / 00 | 71.5 | |
| 227 | The Lost Moment (1947) | Susan Hayward & Walter Wanger |
2.00 | 67.1 | 67.10 | 137 | 64 | 00 / 00 | 71.4 | |
| 226 | Beat the Devil (1953) | Humphrey Bogart & Peter Lorre |
3.00 | 63.1 | 63.10 | 120 | 65 | 00 / 00 | 71.0 | |
| 228 | No Man of Her Own (1950) | Barbara Stanwyck | 1.60 | 42.0 | 42.00 | 160 | 71 | 00 / 00 | 70.4 | |
| 231 | Iron Man (1951) | Rock Hudson & Jeff Chandler |
2.90 | 71.4 | 71.40 | 130 | 61 | 00 / 00 | 69.8 | |
| 229 | So Evil My Love (1948) | Ray Milland | 1.60 | 51.4 | 51.40 | 151 | 67 | 00 / 00 | 69.3 | |
| 232 | Rage in Heaven (1941) | Ingrid Bergman & Robert Montgomery |
2.00 | 90.0 | 90.00 | 116 | 54 | 00 / 00 | 68.9 | |
| 233 | Jeopardy (1953) | Barbara Stanwyck & Directed by John Sturges |
3.70 | 76.1 | 102.00 | 102 | 58 | 00 / 00 | 68.7 | |
| 231 | The Sniper (1952) | Adolphe Menjou | 1.50 | 33.1 | 33.10 | 181 | 72 | 00 / 00 | 68.4 | |
| 232 | Where Danger Lives (1950) | Robert Mitchum & Claude Rains |
2.40 | 62.5 | 96.00 | 129 | 62 | 00 / 00 | 68.0 | |
| 236 | We Were Strangers (1949) | John Garfield & Jennifer Jones |
2.10 | 60.6 | 60.60 | 140 | 61 | 00 / 00 | 66.2 | |
| 234 | Quicksand (1950) | Peter Lorre & Mickey Rooney |
1.80 | 46.5 | 46.50 | 155 | 65 | 00 / 00 | 64.9 | |
| 239 | Dark City (1950) | Charlton Heston | 2.70 | 70.7 | 70.70 | 117 | 57 | 00 / 00 | 64.6 | |
| 237 | Tight Spot (1955) | Edward G. Robinson & Ginger Rogers |
1.90 | 45.7 | 45.70 | 139 | 64 | 00 / 00 | 64.1 | |
| 241 | Out of the Fog (1941) | John Garfield | 1.90 | 82.8 | 82.80 | 124 | 51 | 00 / 00 | 62.4 | |
| 240 | Macao (1952) | Robert Mitchum & Jane Russell |
3.10 | 69.4 | 69.40 | 118 | 55 | 00 / 00 | 62.2 | |
| 240 | The Glass Web (1953) | Edward G. Robinson | 2.10 | 44.2 | 44.20 | 163 | 63 | 00 / 00 | 62.1 | |
| 242 | Female on the Beach (1955) | Joan Crawford & Jeff Chandler |
2.20 | 53.2 | 53.20 | 130 | 60 | 00 / 00 | 61.2 | |
| 241 | Secret Beyond the Door... (1947) | Michael Redgrave | 1.10 | 38.8 | 38.80 | 156 | 64 | 00 / 00 | 61.1 | |
| 246 | Singapore (1947) | Ava Gardner & Fred MacMurray |
1.90 | 65.7 | 65.70 | 139 | 55 | 00 / 00 | 60.4 | |
| 245 | The Reckless Moment (1949) | James Mason & Joan Bennett |
2.00 | 57.9 | 57.90 | 144 | 57 | 00 / 00 | 59.8 | |
| 245 | Killer's Kiss (1955) | Directed by Stanley Kubrick | 0.10 | 1.9 | 1.90 | 206 | 74 | 00 / 00 | 58.5 | |
| 247 | The People Against O'Hara (1951) | Spencer Tracy & John Sturges |
3.20 | 79.1 | 121.10 | 114 | 50 | 00 / 00 | 58.5 | |
| 250 | Sirocco (1951) | Humphrey Bogart | 3.70 | 92.9 | 92.90 | 96 | 45 | 00 / 00 | 58.2 | |
| 249 | Among The Living (1941) | Susan Hayward | 1.30 | 59.9 | 59.90 | 151 | 55 | 00 / 00 | 57.6 | |
| 247 | Lonelyhearts (1958) | Myrna Loy & Montgomery Clift |
2.20 | 45.2 | 45.20 | 102 | 59 | 01 / 00 | 57.0 | |
| 251 | Crime of Passion (1956) | Barbara Stanwyck | 1.40 | 32.5 | 32.50 | 158 | 62 | 00 / 00 | 54.8 | |
| 252 | Time Table (1956) | John Marley | 0.50 | 10.3 | 10.30 | 200 | 68 | 00 / 00 | 53.9 | |
| 251 | The Devil Thumbs a Ride (1947) | Lawrence Tierney | 1.10 | 37.3 | 37.30 | 160 | 60 | 00 / 00 | 53.1 | |
| 252 | Black Magic (1949) | Orson Welles & Raymond Burr |
1.50 | 42.4 | 42.40 | 164 | 58 | 00 / 00 | 52.3 | |
| 254 | Black Hand (1950) | Gene Kelly | 2.20 | 57.4 | 90.00 | 140 | 53 | 00 / 00 | 52.1 | |
| 255 | A Woman's Secret (1949) | Maureen O'Hara & Melvyn Douglas |
2.00 | 58.2 | 58.20 | 143 | 52 | 00 / 00 | 51.3 | |
| 256 | Cry Terror! (1958) | James Mason & Rod Steiger |
1.70 | 35.7 | 35.70 | 117 | 57 | 00 / 00 | 47.5 | |
| 259 | This Woman Is Dangerous (1952) | Joan Crawford & Dennis Morgan |
2.40 | 53.7 | 53.70 | 142 | 51 | 00 / 00 | 46.6 | |
| 258 | The Turning Point (1952) | William Holden & Edmond O'Brien |
1.10 | 25.3 | 25.30 | 196 | 59 | 00 / 00 | 43.7 | |
| 257 | Illegal (1955) | Edward G. Robinson | 0.40 | 10.6 | 11.70 | 192 | 63 | 00 / 00 | 43.4 | |
| 260 | A Cry in The Night (1956) | Natalie Wood & Raymond Burr |
1.50 | 33.0 | 54.80 | 157 | 53 | 00 / 00 | 36.8 | |
| 262 | The Man in The Net (1959) | Alan Ladd & Carolyn Jones |
1.80 | 36.6 | 36.60 | 123 | 46 | 00 / 00 | 25.5 | |
| 261 | Twist of Fate (1954) | Ginger Rogers & Stanley Baker |
0.60 | 17.5 | 17.50 | 174 | 51 | 00 / 00 | 23.0 | |
| 263 | A Bullet for Joey (1955) | Edward G. Robinson | 1.60 | 39.4 | 39.40 | 149 | 37 | 00 / 00 | 12.5 |
And finally: This is obviously not every single film noir movie ever made. There are 1000s and 1000s of movies that many people consider film noir. We made 250 movies as our cut off point. Hopefully we have included the most popular film noir movies…though I am sure the good folks at the TCM message boards will find another 250 movies that need to be on the list. This was a request from Flora Breen Robison. Hey Flora….this was officially the most difficult requested page ever…but well worth the effort considering how supportive you are of our little old website.
So are you thinking….250 Film Noir movies is nice but I want more. Then check out this wonderful Film Noir page by the people at TheCinemaCafe.com. Plundering The Genre: Film Noir.
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You did the right thing there Bruce Cogerson by listing films that others have decided are noir. Anyone can decide for themselves if a given film is noir or not, despite what the “experts” (who often disagree with themselves) say, but if it’s not listed at all, then obviously that “decision” is taken away from us. Did you limit your list to U.S. produced noirs in your given timeline
Hey Arthur.. I read so many books with so many different definitions of “film noir” that at one point it seemed that every movie ever made feel into a film noir category. I did not have a rule on U.S. productions versus International productions…..but in the end only a few International movies made my table. One of the sources I used..”Film Noir Guide” had the most International movies listed. The rest of the sources pretty much stuck with U.S. only movies. Thanks for checking out my page.
Thanks for my requested page, Bruce!
I have seen 186 of these movies.
Lots more for me to see!
Have I told you lately how much I adore your wesbite, your family, your love of movies and the fact that you were so interested in finding how I was?
I won’t list what ones I have seen or not seen.
You already know what I love.
Have a Happy Easter Weekend Bruce.
Love, Flora aka GregoryPeckfan and Jack the cat and my Mom.
Hey Flora…..186 movies watched. You know I never count until either you or Steve comment….let me see….counting….this is going to take a moment…61 of the Top 100….not too bad. 21 for 101 to 200…and 4 of the last 50…for a grand total of 86…..only a 100 movies behind.
Thanks for the nice words about our website. It has been fun watching it grow and grow over the last year. Thanks for the Easter wishes. Our little ones are very excited about Sunday morning when the Easter bunny gets here. Hope you and your family have a great holiday too.
Bad Day At Black Rock is not a noir film. And a whole bunch of others too. Like Winchester 73, The Ox-Bow Incident, Beat THe Devil, Monsieur Verdoux, etc. Etc. Etc. Etc.
Hey Dre…I agree with you. But source after source kept listing them. I used 11 sources….if a movie reached 5 sources it made my table. That is one of the reasons it took so long (2 months) to put this together.
Winchester 73…Noir Type: Horse Opera. Noir Themes: Revenge, obsession, betrayal. From Film Noir Guide by Michael F.Keaney. As for Bad Day At Black Rock….I thought no way…but source after source not only listed the movie…but had it very highly ranked….so in the end I went with the sources I was using for the research.
Noir has subcategories such as Noir Western, noir comedy, etc. Thee are indeed noir.
Hey Flora…I had no idea that “noir” had so many sub categories. I used to think noir was …black and white…low budget…..crime dramas. That really only represents a small % of noir movies. Glad you like your requested page.
All the movies you mentioned do have noir elements and many writers and critics consider them border line noir. No one is an expert on exactly what defines a noir.
Hey Jeff. I agree with you 100%. I felt like Alice in Wonderland….going down the rabbit hole. The more I researched film noir the more my eyes opened to the fact that film noir covers a lot more movies than I originally thought. I am sure the French film critic that came up with the term in 1946…would probably say all the experts are looking at it wrong. Thanks for stopping by.
I’ve seen a majority of those… (reminds me, I need to order some film noir DVDs.)
Hey Schuler…glad my page is helping you pick out DVDs…thanks for stopping by
Your work boggles my mind. Simply an outstanding list. Interesting that a few westerns were included. Keep it up!
Hey Jim….thanks for the great compliment. I gotta admit when I started seeing so many movies that did not meet my personal criteria of film noir show up on so many lists…I thought I would never finish this page. The westerns stick out….they are good westerns but when watching movies like The Man From Colorado and many of the Stewart westerns…at no time did I think I was watching a film noir page. The same could be said for Bad Day At Black Rock…for awhile I refused to put it on the list….but it kept showing up on all of the sources I was using…and showing up very high in their rankings. So in the end…it like the westerns made the page. Thanks for checking out our latest page.