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 | 167.1 | 167.10 | 31 | 86 | 07 / 03 | 99.7 | |
| 1 | Double Indemnity (1944) AA Best Picture Nom |
Barbara Stanwyck & Edward G. Robinson |
8.40 | 282.4 | 282.40 | 21 | 94 | 07 / 00 | 99.7 | |
| 2 | The Snake Pit (1948) AA Best Picture Nom |
Olivia de Havilland | 10.80 | 290.8 | 290.80 | 5 | 84 | 06 / 01 | 99.3 | |
| 6 | A Place in the Sun (1951) AA Best Picture Nom |
Montgomery Clift & Elizabeth Taylor |
10.00 | 215.6 | 425.00 | 10 | 76 | 09 / 06 | 99.2 | |
| 6 | Suspicion (1941) AA Best Picture Nom |
Joan Fontaine & Cary Grant |
5.20 | 198.7 | 312.80 | 26 | 86 | 03 / 01 | 99.2 | |
| 6 | Mildred Pierce (1945) AA Best Picture Nom |
Joan Crawford & Ann Blyth |
9.70 | 306.8 | 500.50 | 16 | 82 | 06 / 01 | 99.1 | |
| 7 | Sunset Blvd. (1950) AA Best Picture Nom |
William Holden & Gloria Swanson |
6.70 | 150.8 | 150.80 | 24 | 90 | 11 / 03 | 99.0 | |
| 9 | The Treasure of the Sierra Madre (1948) AA Best Picture Nom |
Walter Huston & Humphrey Bogart |
6.10 | 163.1 | 290.40 | 45 | 90 | 04 / 03 | 99.0 | |
| 8 | Laura (1944) | Clifton Webb & Gene Tierney |
6.50 | 217.3 | 217.30 | 39 | 86 | 05 / 01 | 98.9 | |
| 10 | The Killers (1946) | Burt Lancaster & Ava Gardner |
6.80 | 208.1 | 208.10 | 52 | 87 | 04 / 00 | 98.9 | |
| 11 | Key Largo (1948) | Humphrey Bogart & Lionel Barrymore |
8.70 | 234.0 | 309.90 | 16 | 88 | 01 / 01 | 98.9 | |
| 12 | The Big Sleep (1946) | Humphrey Bogart & Lauren Bacall |
8.10 | 249.7 | 405.20 | 32 | 89 | 00 / 00 | 98.7 | |
| 13 | The Third Man (1949) | Orson Welles & Joseph Cotten |
7.20 | 181.1 | 181.10 | 25 | 90 | 03 / 01 | 98.6 | |
| 13 | Scarlet Street (1945) | Edward G. Robinson & Joan Bennett |
6.90 | 220.2 | 259.70 | 41 | 87 | 00 / 00 | 98.6 | |
| 13 | To Have and Have Not (1944) | Humphrey Bogart & Lauren Bacall |
11.80 | 396.9 | 571.30 | 8 | 87 | 00 / 00 | 98.6 | |
| 15 | Gilda (1946) | Rita Hayworth & Glenn Ford |
10.30 | 316.3 | 316.30 | 18 | 87 | 00 / 00 | 98.5 | |
| 17 | The Woman in the Window (1944) | Edward G. Robinson & Joan Bennett |
6.50 | 218.4 | 361.30 | 36 | 85 | 01 / 00 | 98.4 | |
| 18 | Leave Her to Heaven (1945) | Gene Tierney & Vincent Price |
14.20 | 449.6 | 449.60 | 3 | 81 | 04 / 01 | 98.4 | |
| 21 | Crossfire (1947) AA Best Picture Nom |
Robert Ryan & Robert Mitchum |
6.80 | 196.9 | 253.90 | 41 | 76 | 05 / 00 | 98.4 | |
| 19 | The Postman Always Rings Twice (1946) | Lana Turner & John Garfield |
10.20 | 315.1 | 427.10 | 19 | 85 | 00 / 00 | 98.2 | |
| 21 | The Spiral Staircase (1946) | Ethel Barrymore | 7.40 | 228.9 | 228.90 | 45 | 84 | 01 / 00 | 98.2 | |
| 22 | The Man with the Golden Arm (1955) | Frank Sinatra & Eleanor Parker |
11.70 | 241.6 | 241.60 | 22 | 80 | 03 / 00 | 97.8 | |
| 24 | The Man From Laramie (1955) | James Stewart & Donald Crisp |
9.40 | 195.5 | 195.50 | 31 | 83 | 00 / 00 | 97.8 | |
| 24 | Vertigo (1958) | James Stewart & Kim Novak |
9.10 | 164.3 | 164.30 | 19 | 91 | 02 / 00 | 97.7 | |
| 27 | The Stranger (1946) | Edward G. Robinson & Orson Welles |
6.10 | 187.3 | 187.30 | 59 | 85 | 01 / 00 | 97.7 | |
| 26 | Sorry, Wrong Number (1948) | Barbara Stanwyck & Burt Lancaster |
7.50 | 202.1 | 202.10 | 25 | 80 | 01 / 00 | 97.6 | |
| 27 | The Strange Love of Martha Ivers (1946) | Kirk Douglas & Barbara Stanwyck |
8.90 | 274.7 | 274.70 | 28 | 80 | 01 / 00 | 97.5 | |
| 28 | The Blue Dahlia (1946) | Alan Ladd & Veronica Lake |
7.40 | 228.9 | 228.90 | 47 | 79 | 01 / 00 | 97.3 | |
| 29 | The Maltese Falcon (1941) AA Best Picture Nom |
Humphrey Bogart & Peter Lorre |
3.40 | 132.5 | 232.50 | 68 | 91 | 03 / 00 | 97.1 | |
| 29 | Dark Passage (1947) | Humphrey Bogart & Lauren Bacall |
8.10 | 236.2 | 323.80 | 29 | 78 | 00 / 00 | 97.1 | |
| 32 | I Want to Live! (1958) | Susan Hayward | 9.10 | 164.3 | 164.30 | 18 | 83 | 06 / 01 | 96.9 | |
| 31 | Pursued (1947) | Robert Mitchum & Teresa Wright |
7.80 | 228.4 | 228.40 | 31 | 77 | 00 / 00 | 96.9 | |
| 33 | White Heat (1949) | James Cagney & Virginia Mayo |
6.10 | 152.4 | 242.70 | 36 | 91 | 01 / 00 | 96.7 | |
| 34 | The Naked City (1948) Uncredited Role |
Barry Fitzgerald | 6.30 | 170.2 | 170.20 | 40 | 81 | 03 / 02 | 96.6 | |
| 36 | Johnny Guitar (1954) | Joan Crawford & Ernest Borgnine |
7.10 | 167.4 | 167.40 | 45 | 86 | 00 / 00 | 96.5 | |
| 37 | Brute Force (1947) | Burt Lancaster | 5.90 | 173.2 | 173.20 | 53 | 84 | 00 / 00 | 96.5 | |
| 35 | Christmas Holiday (1944) | Gene Kelly & Deanna Durbin |
6.20 | 210.5 | 210.50 | 48 | 74 | 01 / 00 | 96.3 | |
| 40 | The Letter (1940) AA Best Picture Nom |
Bette Davis & Gale Sondergaard |
3.50 | 133.1 | 211.60 | 42 | 84 | 07 / 00 | 96.2 | |
| 38 | Johnny Eager (1941) | Van Heflin & Lana Turner |
6.40 | 247.9 | 370.80 | 12 | 72 | 01 / 01 | 96.1 | |
| 39 | The Lodger (1944) | Merle Oberon | 6.50 | 217.3 | 217.30 | 43 | 74 | 00 / 00 | 96.1 | |
| 42 | The Bad and the Beautiful (1952) | Kirk Douglas & Lana Turner |
6.60 | 128.9 | 183.60 | 37 | 85 | 06 / 05 | 95.9 | |
| 41 | A Stolen Life (1946) | Bette Davis & Glenn Ford |
8.70 | 268.2 | 398.30 | 29 | 72 | 01 / 00 | 95.8 | |
| 43 | Champion (1949) | Kirk Douglas & Arthur Kennedy |
5.80 | 146.2 | 146.20 | 40 | 83 | 06 / 01 | 95.7 | |
| 44 | Dragonwyck (1946) | Vincent Price & Gene Tierney |
8.10 | 249.7 | 249.70 | 33 | 71 | 00 / 00 | 95.4 | |
| 45 | Conflict (1945) | Humphrey Bogart & Sydney Greenstreet |
6.30 | 199.5 | 321.40 | 48 | 70 | 00 / 00 | 95.2 | |
| 45 | Love Letters (1945) | Jennifer Jones & Joseph Cotten |
8.30 | 264.2 | 264.20 | 31 | 67 | 04 / 00 | 95.2 | |
| 46 | My Favorite Brunette (1947) | Bob Hope & Dorothy Lamour |
8.40 | 244.1 | 244.10 | 26 | 70 | 00 / 00 | 95.1 | |
| 48 | Call Northside 777 (1948) | James Stewart & Thelma Ritter |
7.10 | 191.5 | 191.50 | 32 | 72 | 00 / 00 | 95.1 | |
| 51 | Winchester '73 (1950) | James Stewart & Rock Hudson |
6.40 | 144.4 | 144.40 | 32 | 87 | 00 / 00 | 95.0 | |
| 50 | The Dark Mirror (1946) | Olivia de Havilland | 7.40 | 228.9 | 228.90 | 48 | 68 | 01 / 00 | 94.9 | |
| 50 | Keeper of the Flame (1942) | Katharine Hepburn & Spencer Tracy |
6.30 | 232.6 | 342.20 | 24 | 68 | 00 / 00 | 94.8 | |
| 52 | The Seventh Veil (1945) | James Mason & Herbert Lom |
5.60 | 176.1 | 176.10 | 60 | 74 | 01 / 01 | 94.7 | |
| 51 | Sweet Smell of Success (1957) | Burt Lancaster & Tony Curtis |
6.40 | 123.7 | 123.70 | 36 | 92 | 00 / 00 | 94.6 | |
| 54 | Nobody Lives Forever (1946) | John Garfield & Walter Brennan |
5.70 | 174.3 | 231.40 | 61 | 76 | 00 / 00 | 94.5 | |
| 55 | Detective Story (1951) | Eleanor Parker & Kirk Douglas |
8.00 | 172.5 | 172.50 | 15 | 72 | 04 / 00 | 94.2 | |
| 54 | Cloak and Dagger (1946) | Gary Cooper | 6.80 | 208.1 | 208.10 | 53 | 66 | 00 / 00 | 94.2 | |
| 55 | Shadow of a Doubt (1943) | Joseph Cotten & Teresa Wright |
3.40 | 123.2 | 123.20 | 90 | 90 | 01 / 00 | 94.2 | |
| 56 | The House on 92nd Street (1945) | William Eythe | 6.90 | 220.2 | 220.20 | 38 | 64 | 01 / 01 | 94.1 | |
| 61 | Possessed (1947) | Joan Crawford & Van Heflin |
5.40 | 156.5 | 156.50 | 63 | 78 | 01 / 00 | 93.9 | |
| 58 | Calcutta (1946) | Alan Ladd & Gail Russell |
7.60 | 233.1 | 233.10 | 39 | 65 | 00 / 00 | 93.9 | |
| 61 | Humoresque (1946) | Joan Crawford & John Garfield |
6.20 | 189.9 | 282.90 | 57 | 67 | 01 / 00 | 93.7 | |
| 62 | Road House (1948) | Richard Widmark | 6.30 | 170.6 | 170.60 | 38 | 73 | 00 / 00 | 93.6 | |
| 64 | Boomerang! (1947) | Dana Andrews | 6.10 | 177.2 | 177.20 | 47 | 70 | 01 / 00 | 93.5 | |
| 63 | Bad Day at Black Rock (1955) | Spencer Tracy & Lee Marvin |
5.70 | 118.5 | 226.40 | 56 | 87 | 03 / 00 | 93.4 | |
| 64 | High Sierra (1941) | Humphrey Bogart | 3.40 | 132.0 | 184.90 | 69 | 85 | 00 / 00 | 93.3 | |
| 67 | The Big Clock (1948) | Charles Laughton & Ray Milland |
5.30 | 141.8 | 141.80 | 64 | 81 | 00 / 00 | 93.1 | |
| 66 | Out of the Past (1947) | Kirk Douglas & Robert Mitchum |
4.00 | 117.7 | 166.90 | 87 | 88 | 00 / 00 | 93.1 | |
| 68 | Strangers on a Train (1951) | Ruth Roman | 5.10 | 110.1 | 180.90 | 57 | 90 | 00 / 00 | 93.0 | |
| 71 | The Unsuspected (1947) | Claude Rains & Joan Caulfield |
5.40 | 157.5 | 157.50 | 61 | 75 | 00 / 00 | 93.0 | |
| 71 | Deception (1946) | Bette Davis & Claude Rains |
5.80 | 177.5 | 271.50 | 60 | 69 | 00 / 00 | 92.9 | |
| 71 | The Gunfighter (1950) | Gregory Peck & Karl Malden |
5.60 | 125.1 | 125.10 | 48 | 84 | 01 / 00 | 92.8 | |
| 72 | The Desperate Hours (1955) | Humphrey Bogart & Fredric March |
7.10 | 148.1 | 148.10 | 41 | 78 | 00 / 00 | 92.8 | |
| 73 | A Woman's Face (1941) | Joan Crawford & Melvyn Douglas |
3.50 | 133.8 | 236.80 | 67 | 82 | 00 / 00 | 92.6 | |
| 75 | Kiss of Death (1947) Uncredited Role |
Richard Widmark & Victor Mature |
4.50 | 129.9 | 129.90 | 78 | 81 | 02 / 00 | 92.4 | |
| 75 | The Naked Spur (1953) | James Stewart & Robert Ryan |
6.80 | 122.5 | 122.50 | 38 | 84 | 01 / 00 | 92.4 | |
| 76 | The Wild One (1953) | Marlon Brando & Lee Marvin |
8.60 | 155.2 | 155.20 | 24 | 74 | 00 / 00 | 92.2 | |
| 78 | The Two Mrs. Carrolls (1947) | Humphrey Bogart & Barbara Stanwyck |
6.20 | 180.5 | 281.00 | 46 | 66 | 00 / 00 | 92.2 | |
| 76 | Body and Soul (1947) | John Garfield | 3.80 | 110.2 | 110.20 | 91 | 84 | 03 / 01 | 92.1 | |
| 79 | I Wake Up Screaming (1941) | Betty Grable & Victor Mature |
4.00 | 155.2 | 155.20 | 46 | 73 | 00 / 00 | 91.9 | |
| 82 | House of Strangers (1949) | Susan Hayward & Edward G. Robinson |
5.60 | 139.3 | 139.30 | 46 | 77 | 00 / 00 | 91.8 | |
| 81 | Odd Man Out (1947) | James Mason | 3.80 | 110.2 | 110.20 | 90 | 86 | 01 / 00 | 91.8 | |
| 84 | Flesh and Fantasy (1943) | Barbara Stanwyck & Edward G. Robinson |
5.10 | 184.8 | 184.80 | 55 | 63 | 00 / 00 | 91.7 | |
| 83 | They Drive By Night (1940) | Humphrey Bogart & Ann Sheridan |
3.10 | 120.1 | 175.60 | 48 | 83 | 00 / 00 | 91.7 | |
| 85 | Chicago Deadline (1949) | Alan Ladd & Donna Reed |
5.80 | 146.2 | 146.20 | 41 | 75 | 00 / 00 | 91.7 | |
| 84 | Murder, My Sweet (1944) | Dick Powell | 3.70 | 125.0 | 186.40 | 89 | 81 | 00 / 00 | 91.4 | |
| 88 | Flamingo Road (1949) | Joan Crawford & Sydney Greenstreet |
6.30 | 157.6 | 201.70 | 33 | 70 | 00 / 00 | 91.3 | |
| 86 | Invasion of the Body Snatchers (1956) | Kevin McCarthy | 6.00 | 117.6 | 117.60 | 47 | 82 | 00 / 00 | 91.0 | |
| 88 | A Double Life (1947) | Ronald Colman & Shelley Winters |
4.60 | 133.9 | 133.90 | 77 | 69 | 04 / 02 | 90.4 | |
| 91 | The Paradine Case (1947) | Charles Laughton & Gregory Peck |
5.90 | 173.2 | 173.20 | 54 | 62 | 01 / 00 | 90.4 | |
| 89 | Attack (1956) | Lee Marvin & Jack Palance |
5.70 | 112.0 | 112.00 | 49 | 82 | 00 / 00 | 90.4 | |
| 92 | T-Men (1947) | Dennis O'Keefe & Directed by Anthony Mann |
4.30 | 126.0 | 126.00 | 79 | 76 | 01 / 00 | 90.2 | |
| 90 | The Ox-Bow Incident (1942) AA Best Picture Nom |
Henry Fonda & Anthony Quinn |
2.10 | 79.7 | 79.70 | 122 | 85 | 01 / 00 | 90.2 | |
| 93 | Pickup on South Street (1953) | Thelma Ritter & Richard Widmark |
5.80 | 103.4 | 103.40 | 52 | 83 | 01 / 00 | 90.2 | |
| 94 | The Red House (1947) | Edward G. Robinson | 4.60 | 133.9 | 133.90 | 76 | 74 | 00 / 00 | 90.1 | |
| 93 | City for Conquest (1940) | James Cagney & Anthony Quinn |
3.30 | 127.2 | 197.30 | 45 | 76 | 00 / 00 | 90.1 | |
| 97 | Confidential Agent (1945) | Lauren Bacall & Peter Lorre |
4.50 | 142.2 | 241.10 | 80 | 71 | 00 / 00 | 90.0 | |
| 95 | This Gun For Hire (1942) | Alan Ladd & Veronica Lake |
3.10 | 113.6 | 113.60 | 89 | 80 | 00 / 00 | 89.8 | |
| 100 | Fallen Angel (1945) | Dana Andrews & Alice Faye |
4.20 | 132.1 | 132.10 | 83 | 74 | 00 / 00 | 89.8 | |
| 99 | The Street with No Name (1948) | Richard Widmark | 6.20 | 166.7 | 166.70 | 43 | 63 | 00 / 00 | 89.7 | |
| 100 | In a Lonely Place (1950) | Humphrey Bogart | 3.90 | 88.2 | 88.20 | 82 | 87 | 00 / 00 | 89.4 | |
| 102 | The Macomber Affair (1947) | Gregory Peck & Joan Bennett |
4.30 | 126.0 | 126.00 | 80 | 74 | 00 / 00 | 89.3 | |
| 101 | Criss Cross (1949) | Burt Lancaster | 4.00 | 101.0 | 101.00 | 90 | 82 | 00 / 00 | 89.3 | |
| 103 | Sudden Fear (1952) | Jack Palance & Joan Crawford |
4.60 | 89.8 | 89.80 | 67 | 82 | 04 / 00 | 89.2 | |
| 104 | Rope of Sand (1949) | Burt Lancaster & Peter Lorre |
6.20 | 156.7 | 156.70 | 34 | 64 | 00 / 00 | 89.2 | |
| 106 | Niagara (1953) | Marilyn Monroe & Joseph Cotten |
7.10 | 127.9 | 127.90 | 34 | 73 | 00 / 00 | 89.1 | |
| 106 | Ride the Pink Horse (1947) | Robert Montgomery & Thomas Gomez |
3.40 | 98.4 | 98.40 | 103 | 81 | 01 / 00 | 88.9 | |
| 108 | Knock On Any Door (1949) | Humphrey Bogart | 5.80 | 146.2 | 146.20 | 39 | 67 | 00 / 00 | 88.9 | |
| 108 | Affair in Trinidad (1952) | Rita Hayworth & Glenn Ford |
7.50 | 147.0 | 147.00 | 24 | 65 | 01 / 00 | 88.8 | |
| 109 | Dead Reckoning (1947) | Humphrey Bogart | 4.70 | 136.2 | 136.20 | 75 | 69 | 00 / 00 | 88.5 | |
| 109 | The Asphalt Jungle (1950) | Sam Jaffe & Marilyn Monroe |
3.10 | 69.1 | 137.50 | 104 | 87 | 04 / 00 | 88.5 | |
| 109 | Unfaithfully Yours (1948) | Rex Harrison | 3.40 | 92.3 | 92.30 | 99 | 82 | 00 / 00 | 88.2 | |
| 110 | Panic in the Streets (1950) | Richard Widmark & Elia Kazan |
3.40 | 77.0 | 77.00 | 97 | 84 | 01 / 01 | 87.9 | |
| 113 | The Enforcer (1951) | Humphrey Bogart | 4.50 | 97.6 | 177.00 | 74 | 79 | 00 / 00 | 87.9 | |
| 115 | The Furies (1950) | Barbara Stanwyck | 4.60 | 102.7 | 102.70 | 65 | 77 | 01 / 00 | 87.8 | |
| 117 | Compulsion (1959) | Orson Welles & Dean Stockwell |
5.10 | 92.4 | 92.40 | 49 | 80 | 00 / 00 | 87.6 | |
| 114 | Ace in the Hole (1951) | Kirk Douglas | 3.70 | 80.1 | 80.10 | 96 | 83 | 01 / 00 | 87.6 | |
| 117 | The Big Heat (1953) | Lee Marvin & Glenn Ford |
3.80 | 68.1 | 68.10 | 97 | 87 | 00 / 00 | 87.4 | |
| 120 | His Kind of Woman (1951) | Robert Mitchum & Vincent Price |
5.70 | 123.2 | 123.20 | 46 | 69 | 00 / 00 | 87.3 | |
| 118 | Monsieur Verdoux (1947) | Charles Chaplin | 2.30 | 66.9 | 66.90 | 130 | 86 | 01 / 00 | 87.3 | |
| 122 | The Glass Key (1942) | Alan Ladd & Veronica Lake |
2.80 | 105.1 | 105.10 | 102 | 74 | 00 / 00 | 86.9 | |
| 122 | Daisy Kenyon (1947) | Henry Fonda & Joan Crawford |
4.70 | 137.8 | 137.80 | 74 | 64 | 00 / 00 | 86.9 | |
| 122 | Touch of Evil (1958) | Marlene Dietrich & Orson Welles |
3.20 | 58.2 | 58.20 | 67 | 89 | 00 / 00 | 86.8 | |
| 123 | Kiss Tomorrow Goodbye (1950) | James Cagney | 4.90 | 109.1 | 109.10 | 54 | 72 | 00 / 00 | 86.5 | |
| 124 | Portrait of Jennie (1948) | Jennifer Jones & Joseph Cotten |
2.60 | 69.6 | 69.60 | 119 | 81 | 02 / 01 | 86.4 | |
| 123 | The Harder They Fall (1956) | Humphrey Bogart & Rod Steiger |
3.90 | 75.6 | 75.60 | 90 | 81 | 01 / 00 | 86.4 | |
| 126 | Raw Deal (1948) | Dennis O'Keefe | 3.20 | 85.3 | 85.30 | 100 | 79 | 00 / 00 | 86.3 | |
| 127 | The Great Sinner (1949) | Gregory Peck & Ava Gardner |
5.60 | 139.3 | 139.30 | 44 | 61 | 00 / 00 | 86.2 | |
| 128 | Crossroads (1942) | William Powell & Hedy Lamarr |
4.40 | 161.8 | 246.50 | 60 | 54 | 00 / 00 | 86.0 | |
| 127 | No Way Out (1950) | Sidney Poitier & Richard Widmark |
3.90 | 86.6 | 86.60 | 83 | 77 | 01 / 00 | 85.9 | |
| 130 | Rawhide (1951) | Susan Hayward & Tyrone Power |
5.60 | 120.1 | 120.10 | 52 | 67 | 00 / 00 | 85.8 | |
| 130 | They Won't Believe Me (1947) | Susan Hayward & Robert Young |
3.60 | 103.9 | 159.10 | 95 | 72 | 00 / 00 | 85.8 | |
| 132 | The Dark Corner (1946) | Lucille Ball & Clifton Webb |
2.70 | 83.2 | 83.20 | 108 | 78 | 00 / 00 | 85.8 | |
| 134 | Kiss The Blood Off My Hands (1948) | Burt Lancaster & Joan Fontaine |
4.20 | 113.5 | 113.50 | 85 | 69 | 00 / 00 | 85.8 | |
| 134 | Suddenly (1954) | Frank Sinatra | 4.00 | 93.7 | 93.70 | 82 | 75 | 00 / 00 | 85.7 | |
| 135 | I Walk Alone (1947) | Burt Lancaster & Kirk Douglas |
5.70 | 165.4 | 165.40 | 56 | 52 | 00 / 00 | 85.5 | |
| 137 | The Damned Don't Cry (1950) | Joan Crawford & David Brian |
4.40 | 98.8 | 141.90 | 69 | 72 | 00 / 00 | 85.3 | |
| 138 | High Wall (1947) | Robert Taylor | 4.20 | 122.3 | 206.20 | 82 | 64 | 00 / 00 | 85.1 | |
| 136 | Night and the City (1950) | Richard Widmark & Gene Tierney |
3.60 | 80.1 | 80.10 | 95 | 77 | 00 / 00 | 84.9 | |
| 141 | Cornered (1945) | Dick Powell | 3.70 | 117.6 | 159.90 | 89 | 65 | 00 / 00 | 84.9 | |
| 138 | All My Sons (1948) | Burt Lancaster & Edward G. Robinson |
2.90 | 78.0 | 78.00 | 106 | 78 | 00 / 00 | 84.8 | |
| 140 | Where the Sidewalk Ends (1950) | Dana Andrews & Gene Tierney |
2.90 | 64.2 | 64.20 | 110 | 82 | 00 / 00 | 84.7 | |
| 142 | Force of Evil (1948) | John Garfield | 2.50 | 67.2 | 76.00 | 124 | 81 | 00 / 00 | 84.6 | |
| 141 | Hangover Square (1945) | Laird Cregar | 2.80 | 87.8 | 87.80 | 107 | 74 | 00 / 00 | 84.6 | |
| 145 | Lust For Gold (1949) | Ida Lupino & Glenn Ford |
4.20 | 104.1 | 104.10 | 85 | 69 | 00 / 00 | 84.4 | |
| 144 | They Live By Night (1948) | Farley Granger | 2.40 | 63.8 | 63.80 | 129 | 81 | 00 / 00 | 84.3 | |
| 146 | Clash by Night (1952) | Marilyn Monroe & Barbara Stanwyck |
4.20 | 81.7 | 81.70 | 84 | 75 | 00 / 00 | 84.3 | |
| 146 | Cry of The City (1948) | Shelley Winters & Victor Mature |
2.60 | 70.9 | 70.90 | 115 | 78 | 00 / 00 | 84.1 | |
| 148 | Don't Bother To Knock (1952) | Simone Signoret & Véra Clouzot |
4.20 | 81.7 | 81.70 | 76 | 74 | 00 / 00 | 83.8 | |
| 149 | Blood on the Moon (1948) | Robert Mitchum & Walter Brennan |
5.60 | 150.0 | 187.20 | 58 | 53 | 00 / 00 | 83.8 | |
| 150 | I Confess (1953) | Montgomery Clift | 4.40 | 78.5 | 158.90 | 80 | 75 | 00 / 00 | 83.7 | |
| 153 | The Breaking Point (1950) | John Garfield | 3.00 | 67.4 | 110.40 | 105 | 78 | 00 / 00 | 83.5 | |
| 151 | The Lady From Shanghai (1947) | Orson Welles & Rita Hayworth |
2.00 | 58.3 | 58.30 | 136 | 81 | 00 / 00 | 83.5 | |
| 153 | The Killing (1956) | Sterling Hayden & Directed by Stanley Kubrick |
1.80 | 34.4 | 34.40 | 148 | 89 | 00 / 00 | 83.5 | |
| 156 | Smash-Up: The Story of a Woman (1947) | Susan Hayward & Walter Wanger |
4.70 | 138.1 | 196.20 | 72 | 54 | 02 / 00 | 83.5 | |
| 155 | The Wrong Man (1956) | Henry Fonda | 3.30 | 65.2 | 119.50 | 102 | 79 | 00 / 00 | 83.4 | |
| 154 | Nightmare Alley (1947) | Tyrone Power & Joan Blondell |
1.50 | 43.3 | 43.30 | 145 | 86 | 00 / 00 | 83.4 | |
| 156 | The Set-Up (1949) | Robert Ryan | 2.30 | 57.5 | 84.30 | 135 | 81 | 00 / 00 | 83.2 | |
| 157 | The Night of the Hunter (1955) | Robert Mitchum & Directed by Charles Laughton |
0.90 | 17.8 | 17.80 | 181 | 93 | 00 / 00 | 83.0 | |
| 159 | Beyond the Forest (1949) | Bette Davis & Joseph Cotten |
3.70 | 92.7 | 121.00 | 95 | 68 | 01 / 00 | 82.9 | |
| 160 | Ruby Gentry (1952) | Charlton Heston & Jennifer Jones |
4.90 | 95.3 | 95.30 | 63 | 68 | 00 / 00 | 82.5 | |
| 160 | Violent Saturday (1955) | Lee Marvin & Victor Mature |
3.60 | 74.0 | 74.00 | 91 | 74 | 00 / 00 | 82.4 | |
| 162 | Station West (1948) | Dick Powell & Raymond Burr |
3.60 | 97.5 | 121.60 | 97 | 67 | 00 / 00 | 82.4 | |
| 161 | Gun Crazy (1950) | Peggy Cummins & John Dall |
2.40 | 52.9 | 52.90 | 134 | 81 | 00 / 00 | 82.3 | |
| 164 | D.O.A. (1949) | Edmond O'Brien | 2.10 | 51.6 | 51.60 | 141 | 81 | 00 / 00 | 82.1 | |
| 167 | Fixed Bayonets! (1951) | Richard Basehart & Directed by Sam Fuller |
4.10 | 89.3 | 89.30 | 87 | 69 | 00 / 00 | 82.1 | |
| 165 | He Ran All The Way (1951) | John Garfield & Shelley Winters |
2.90 | 61.6 | 61.60 | 131 | 77 | 00 / 00 | 81.9 | |
| 167 | Autumn Leaves (1956) | Joan Crawford & Cliff Robertson |
3.10 | 61.6 | 61.60 | 108 | 76 | 00 / 00 | 81.4 | |
| 168 | Pitfall (1948) | Dick Powell & Raymond Burr |
2.90 | 78.0 | 78.00 | 104 | 71 | 00 / 00 | 81.3 | |
| 171 | Desperate (1947) | Steve Brodie | 3.00 | 86.7 | 86.70 | 115 | 68 | 00 / 00 | 81.1 | |
| 170 | The Man From Colorado (1948) | William Holden & Glenn Ford |
5.30 | 141.8 | 141.80 | 67 | 50 | 00 / 00 | 81.0 | |
| 172 | Framed (1947) | Glenn Ford & Janis Carter |
3.40 | 98.4 | 98.40 | 101 | 63 | 00 / 00 | 80.6 | |
| 173 | Deadline At Dawn (1946) | Susan Hayward | 3.00 | 93.7 | 93.70 | 102 | 65 | 00 / 00 | 80.5 | |
| 171 | The Narrow Margin (1952) | Charles McGraw | 1.70 | 32.5 | 32.50 | 173 | 83 | 01 / 00 | 80.4 | |
| 176 | The Bribe (1949) | Ava Gardner & Vincent Price |
4.30 | 108.6 | 174.80 | 72 | 59 | 00 / 00 | 80.2 | |
| 175 | Whirlpool (1950) | Gene Tierney | 3.30 | 73.8 | 73.80 | 100 | 70 | 00 / 00 | 80.1 | |
| 174 | Angel Face (1953) | Robert Mitchum & Jean Simmons |
3.00 | 54.4 | 54.40 | 132 | 76 | 00 / 00 | 80.1 | |
| 177 | Three Strangers (1946) | Peter Lorre & Sydney Greenstreet |
2.80 | 86.0 | 137.10 | 105 | 66 | 00 / 00 | 80.1 | |
| 178 | Act of Violence (1949) | Van Heflin & Janet Leigh |
2.00 | 49.0 | 78.60 | 146 | 78 | 00 / 00 | 79.9 | |
| 179 | Ride Lonesome (1959) | James Coburn & Randolph Scott |
2.70 | 48.8 | 48.80 | 87 | 78 | 00 / 00 | 79.8 | |
| 181 | The File on Thelma Jordon (1949) | Barbara Stanwyck | 2.60 | 66.2 | 66.20 | 122 | 72 | 00 / 00 | 79.8 | |
| 180 | Kiss Me Deadly (1955) | Ralph Meeker | 2.10 | 43.0 | 43.00 | 137 | 79 | 00 / 00 | 79.6 | |
| 183 | Moss Rose (1947) | Vincent Price & Victor Mature |
3.10 | 90.6 | 90.60 | 110 | 64 | 00 / 00 | 79.6 | |
| 182 | Rancho Notorious (1952) | Marlene Dietrich & Arthur Kennedy |
2.50 | 49.0 | 49.00 | 136 | 77 | 00 / 00 | 79.5 | |
| 184 | On Dangerous Ground (1951) | Ida Lupino & Robert Ryan |
1.90 | 40.3 | 40.30 | 159 | 80 | 00 / 00 | 79.3 | |
| 185 | Diabolique (1955) | Simone Sigornet | 1.00 | 20.7 | 20.70 | 171 | 86 | 00 / 00 | 79.2 | |
| 186 | Fourteen Hours (1951) | Grace Kelly | 2.00 | 43.1 | 43.10 | 156 | 78 | 01 / 00 | 79.1 | |
| 189 | Storm Warning (1950) | Doris Day & Ginger Rogers |
3.60 | 80.2 | 80.20 | 93 | 66 | 00 / 00 | 78.7 | |
| 188 | Sleep, My Love (1948) | Claudette Colbert & Don Ameche |
2.40 | 65.1 | 65.10 | 126 | 71 | 00 / 00 | 78.7 | |
| 187 | Rififi (1955) | Jules Dassin | 0.10 | 1.2 | 1.20 | 208 | 91 | 00 / 00 | 78.7 | |
| 189 | The Big Combo (1955) | Cornel Wilde & Richard Conte |
1.90 | 38.5 | 38.50 | 141 | 78 | 00 / 00 | 78.1 | |
| 192 | Baby Face Nelson (1957) | Mickey Rooney & Carolyn Jones |
3.60 | 68.8 | 68.80 | 68 | 69 | 00 / 00 | 78.1 | |
| 191 | Detour (1945) | Tom Neal & Ann Savage |
1.00 | 33.0 | 33.00 | 137 | 80 | 00 / 00 | 77.9 | |
| 195 | Union Station (1950) | William Holden & Nancy Olson |
4.10 | 91.4 | 91.40 | 76 | 61 | 00 / 00 | 77.8 | |
| 194 | The Mask of Dimitrios (1944) | Peter Lorre & Sydney Greenstreet |
1.30 | 44.6 | 145.20 | 135 | 76 | 00 / 00 | 77.5 | |
| 195 | The Racket (1951) | Robert Mitchum & Robert Ryan |
5.00 | 107.8 | 107.80 | 59 | 55 | 00 / 00 | 77.2 | |
| 197 | Witness to Murder (1954) | Barbara Stanwyck & George Sanders |
2.90 | 67.0 | 67.00 | 106 | 67 | 00 / 00 | 76.4 | |
| 198 | Whistle Stop (1946) | Ava Gardner & George Raft |
3.90 | 120.7 | 120.70 | 85 | 50 | 00 / 00 | 75.9 | |
| 198 | Cry Wolf (1947) | Barbara Stanwyck & Errol Flynn |
5.00 | 145.0 | 211.80 | 69 | 42 | 00 / 00 | 75.7 | |
| 199 | One Way Street (1950) | James Mason & Dan Duryea |
3.70 | 83.4 | 83.40 | 89 | 61 | 00 / 00 | 75.6 | |
| 201 | Odds Against Tomorrow (1959) | Robert Ryan & Harry Belafonte |
1.80 | 32.1 | 32.10 | 121 | 77 | 00 / 00 | 75.5 | |
| 200 | Angels Over Broadway (1940) | Rita Hayworth & Douglas Fairbanks Jr. |
2.00 | 78.6 | 78.60 | 96 | 62 | 01 / 00 | 75.5 | |
| 200 | I Walked with a Zombie (1943) | Frances Dee | 1.00 | 36.5 | 36.50 | 147 | 76 | 00 / 00 | 75.2 | |
| 205 | Appointment with Danger (1950) | Alan Ladd & Jack Webb |
4.10 | 93.0 | 93.00 | 74 | 58 | 00 / 00 | 75.2 | |
| 202 | Two Smart People (1946) | Lucille Ball | 2.40 | 72.5 | 99.80 | 116 | 64 | 00 / 00 | 74.8 | |
| 205 | Night Has a Thousand Eyes (1948) | Edward G. Robinson & Gail Russell |
2.00 | 53.2 | 53.20 | 140 | 69 | 00 / 00 | 74.2 | |
| 206 | Stranger on the Third Floor (1940) | Peter Lorre | 1.10 | 42.0 | 42.00 | 158 | 72 | 00 / 00 | 73.6 | |
| 207 | Second Chance (1953) | Robert Mitchum & Linda Darnell |
6.10 | 108.9 | 108.90 | 48 | 51 | 00 / 00 | 73.3 | |
| 208 | The Fallen Sparrow (1943) | Maureen O'Hara & John Garfield |
3.60 | 130.1 | 178.00 | 86 | 43 | 01 / 00 | 73.3 | |
| 207 | Kansas City Confidential (1952) | John Payne | 1.50 | 29.4 | 29.40 | 178 | 76 | 00 / 00 | 73.1 | |
| 208 | Journey Into Fear (1943) | Orson Welles & Joseph Cotten |
1.30 | 46.3 | 46.30 | 135 | 70 | 00 / 00 | 72.9 | |
| 211 | Edge of the City (1957) | Sidney Poitier | 2.20 | 42.9 | 42.90 | 108 | 71 | 00 / 00 | 72.8 | |
| 212 | Crisis (1950) | Cary Grant & Jose Ferrer |
2.50 | 57.2 | 90.00 | 120 | 66 | 00 / 00 | 72.4 | |
| 213 | Serenade (1956) | Joan Fontaine & Mario Lanza |
4.30 | 84.0 | 154.30 | 75 | 58 | 00 / 00 | 72.3 | |
| 213 | Black Tuesday (1954) | Edward G. Robinson | 1.80 | 42.3 | 42.30 | 127 | 71 | 00 / 00 | 72.2 | |
| 214 | Queen Bee (1955) | Joan Crawford & Fay Wray |
2.80 | 57.7 | 57.70 | 115 | 64 | 02 / 00 | 72.1 | |
| 214 | Moontide (1942) | Claude Rains | 1.20 | 45.9 | 45.90 | 161 | 69 | 01 / 00 | 72.0 | |
| 217 | Man in the Shadow (1957) | Orson Welles & Jeff Chandler |
2.00 | 38.2 | 38.20 | 116 | 72 | 00 / 00 | 71.9 | |
| 218 | The Las Vegas Story (1952) | Vincent Price & Jane Russell |
3.30 | 65.3 | 65.30 | 110 | 63 | 00 / 00 | 71.9 | |
| 221 | The Long Night (1947) | Henry Fonda | 2.70 | 78.7 | 78.70 | 123 | 58 | 00 / 00 | 71.1 | |
| 220 | Another Man's Poison (1951) | Bette Davis | 2.40 | 52.1 | 52.10 | 140 | 67 | 00 / 00 | 71.1 | |
| 221 | Born To Be Bad (1950) | Joan Fontaine & Robert Ryan |
2.70 | 61.0 | 91.40 | 116 | 64 | 00 / 00 | 71.1 | |
| 222 | The Trap (1959) | Richard Widmark | 3.10 | 56.5 | 56.50 | 79 | 65 | 00 / 00 | 71.1 | |
| 225 | The Lady Gambles (1949) | Barbara Stanwyck & Tony Curtis |
3.10 | 76.6 | 76.60 | 115 | 59 | 00 / 00 | 70.8 | |
| 222 | The Secret Fury (1950) | Claudette Colbert & Robert Ryan |
2.40 | 54.5 | 83.40 | 125 | 65 | 00 / 00 | 70.4 | |
| 225 | No Man of Her Own (1950) | Barbara Stanwyck | 1.60 | 36.3 | 36.30 | 160 | 71 | 00 / 00 | 70.1 | |
| 227 | The Lost Moment (1947) | Susan Hayward & Walter Wanger |
2.00 | 57.8 | 57.80 | 137 | 64 | 00 / 00 | 69.8 | |
| 226 | Beat the Devil (1953) | Humphrey Bogart & Peter Lorre |
3.00 | 54.5 | 54.50 | 120 | 65 | 00 / 00 | 69.6 | |
| 230 | Julie (1956) | Doris Day | 4.00 | 79.2 | 145.60 | 77 | 54 | 02 / 00 | 68.6 | |
| 228 | The Sniper (1952) | Adolphe Menjou | 1.50 | 28.5 | 28.50 | 181 | 72 | 00 / 00 | 68.2 | |
| 229 | So Evil My Love (1948) | Ray Milland | 1.60 | 44.3 | 44.30 | 151 | 67 | 00 / 00 | 68.0 | |
| 231 | Iron Man (1951) | Rock Hudson & Jeff Chandler |
2.90 | 61.6 | 61.60 | 127 | 61 | 00 / 00 | 67.5 | |
| 232 | Where Danger Lives (1950) | Robert Mitchum & Claude Rains |
2.40 | 53.9 | 82.80 | 129 | 62 | 00 / 00 | 66.0 | |
| 233 | Jeopardy (1953) | Barbara Stanwyck & Directed by John Sturges |
3.70 | 65.7 | 87.90 | 102 | 58 | 00 / 00 | 65.9 | |
| 235 | Rage in Heaven (1941) | Ingrid Bergman & Robert Montgomery |
2.00 | 77.6 | 77.60 | 116 | 54 | 00 / 00 | 65.5 | |
| 236 | We Were Strangers (1949) | John Garfield & Jennifer Jones |
2.10 | 52.2 | 52.20 | 140 | 61 | 00 / 00 | 64.0 | |
| 234 | Quicksand (1950) | Peter Lorre & Mickey Rooney |
1.80 | 40.1 | 40.10 | 155 | 65 | 00 / 00 | 63.5 | |
| 237 | Tight Spot (1955) | Edward G. Robinson & Ginger Rogers |
1.90 | 39.4 | 39.40 | 139 | 64 | 00 / 00 | 62.6 | |
| 239 | Dark City (1950) | Charlton Heston | 2.70 | 61.0 | 61.00 | 117 | 57 | 00 / 00 | 61.4 | |
| 240 | The Glass Web (1953) | Edward G. Robinson | 2.10 | 38.1 | 38.10 | 164 | 63 | 00 / 00 | 60.3 | |
| 241 | Secret Beyond the Door... (1947) | Michael Redgrave | 1.10 | 33.5 | 33.50 | 156 | 64 | 00 / 00 | 59.6 | |
| 241 | Killer's Kiss (1955) | Directed by Stanley Kubrick | 0.10 | 1.6 | 1.60 | 206 | 74 | 00 / 00 | 59.5 | |
| 242 | Female on the Beach (1955) | Joan Crawford & Jeff Chandler |
2.20 | 45.9 | 45.90 | 130 | 60 | 00 / 00 | 58.6 | |
| 243 | Macao (1952) | Robert Mitchum & Jane Russell |
3.10 | 59.9 | 59.90 | 118 | 55 | 00 / 00 | 58.6 | |
| 244 | Out of the Fog (1941) | John Garfield | 1.90 | 71.4 | 71.40 | 124 | 51 | 00 / 00 | 57.8 | |
| 246 | Singapore (1947) | Ava Gardner & Fred MacMurray |
1.90 | 56.6 | 56.60 | 139 | 55 | 00 / 00 | 56.7 | |
| 245 | The Reckless Moment (1949) | James Mason & Joan Bennett |
2.00 | 49.9 | 49.90 | 144 | 57 | 00 / 00 | 56.6 | |
| 247 | Lonelyhearts (1958) | Myrna Loy & Montgomery Clift |
2.20 | 39.0 | 39.00 | 102 | 59 | 01 / 00 | 54.6 | |
| 249 | Among The Living (1941) | Susan Hayward | 1.30 | 51.7 | 51.70 | 151 | 55 | 00 / 00 | 54.1 | |
| 248 | Time Table (1956) | John Marley | 0.50 | 9.5 | 9.50 | 199 | 68 | 00 / 00 | 53.6 | |
| 250 | The People Against O'Hara (1951) | Spencer Tracy & John Sturges |
3.20 | 68.2 | 104.40 | 114 | 50 | 00 / 00 | 53.6 | |
| 251 | Crime of Passion (1956) | Barbara Stanwyck | 1.40 | 28.0 | 28.00 | 158 | 62 | 00 / 00 | 53.0 | |
| 253 | Sirocco (1951) | Humphrey Bogart | 3.70 | 80.1 | 80.10 | 97 | 45 | 00 / 00 | 52.1 | |
| 251 | The Devil Thumbs a Ride (1947) | Lawrence Tierney | 1.10 | 32.2 | 32.20 | 160 | 60 | 00 / 00 | 50.8 | |
| 252 | Black Magic (1949) | Orson Welles & Raymond Burr |
1.50 | 36.6 | 36.60 | 164 | 58 | 00 / 00 | 49.4 | |
| 254 | Black Hand (1950) | Gene Kelly | 2.20 | 49.5 | 77.60 | 140 | 53 | 00 / 00 | 47.7 | |
| 255 | A Woman's Secret (1949) | Maureen O'Hara & Melvyn Douglas |
2.00 | 50.2 | 50.20 | 143 | 52 | 00 / 00 | 47.0 | |
| 256 | Cry Terror! (1958) | James Mason & Rod Steiger |
1.70 | 30.8 | 30.80 | 117 | 57 | 00 / 00 | 44.9 | |
| 257 | Illegal (1955) | Edward G. Robinson | 0.40 | 9.1 | 10.10 | 192 | 63 | 00 / 00 | 43.0 | |
| 259 | This Woman Is Dangerous (1952) | Joan Crawford & Dennis Morgan |
2.40 | 46.3 | 46.30 | 142 | 51 | 00 / 00 | 42.6 | |
| 258 | The Turning Point (1952) | William Holden & Edmond O'Brien |
1.10 | 21.8 | 21.80 | 196 | 59 | 00 / 00 | 41.9 | |
| 260 | A Cry in The Night (1956) | Natalie Wood & Raymond Burr |
1.50 | 28.4 | 47.30 | 157 | 53 | 00 / 00 | 33.8 | |
| 262 | The Man in The Net (1959) | Alan Ladd & Carolyn Jones |
1.80 | 31.6 | 31.60 | 123 | 46 | 00 / 00 | 22.3 | |
| 261 | Twist of Fate (1954) | Ginger Rogers & Stanley Baker |
0.60 | 15.1 | 15.10 | 174 | 51 | 00 / 00 | 21.9 | |
| 263 | A Bullet for Joey (1955) | Edward G. Robinson | 1.60 | 34.0 | 34.00 | 149 | 37 | 00 / 00 | 10.7 |
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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Watched Double Indemnity again recently – stands the test of time. Currently watching The Postman Always Rings Twice.
Hey Chris….well according to critics and audience voters…Double Indemnity got the top spot on the table. Postman did well too….just not as well….but ended up 37th of the 250 movies on the page.
Deadly is the lady. Glad Gun Crazy made the Top 100 but in my book it is even higher than 75th place. It is so much better than Bonnie and Clyde.
Hey F. McReynolds….well you will be happy to know that Gun Crazy was on every source I looked at…including the one internet list that only had a few pre 1970 movies on the list. 75th place is pretty good considering how many great movies are the list. Thanks for checking out my latest page.
Sunset Blvd. still holds up and is very re-watchable, with amazing performances. Should have won the Best Oscar that year. I think it lost to All About Eve, which I find to be a very unwatchable movie.
Hey Vicki. You are correct….Sunset Blvd did lose to All About Eve for the 1950 Best Picture Oscar. I think both movies are great….so I am sure it was a tough decision for the voters back then. Glad Sunset Blvd finished so high in the rankings. Thanks for the visit and the comment.
Pretty detailed list. Not sure about Vertigo. Yes it is a great movie. But when I think of Vertigo I do not think film noir. Keep up the good work.
Hey Terry S. Thanks for the nice words about this list. I agree with you about Vertigo. I can safely say that we are in the minority…when we think Vertigo is not film noir. Many of the sources I used had Vertigo on their list and very highly ranked on their list. Like I said…I am more confused about what a film noir movie is after sending two months researching it…thank I was before I started this project. Thanks for visiting.
Everything about Vertigo is film noir. Hitchcock made lots of film noir such as Shadow of a Doubt, Vertigo, The Wrong man etc.
Hey Flora…Hitch has a few movies on the table. Notorious almost made the page too. But it fell one source short of the 5 required sources. Vertigo was not in every source….a few left it out. Movies like Double Indemnity, Gun Crazy and Out of the Past were listed in every source.
Wondrerful. Very informative. Another winner.
Thank you Kelakoski. Glad you found my latest page.