Just saying that “cowboy culture in the modern setting” already has an intriguing ring to it. No wonder some of the best shows of our modern times were “Justified” and some of the masterpieces of modern cinema have been films like “No Country for Old Men”.

The audience loves this sub-genre because speaks to both the genre’s roots in traditional Westerns and its contemporary reinterpretations. It becomes fascinating to watch western mythology and its themes in the modern setting. It also helps that some of the neo-westerns are far from clear-cut archetypes of the classic westerns. Instead, they focus on more nuanced, flawed, and complex characters. They also incorporate elements from other genres, especially crime dramas, which makes them appealing to a broader audience.

Examples of the modern “first phase” of neo-Westerns include films such as “Lonely Are the Brave” (1962) and “Hud” (1963) and while it never got too popular enough to turn into a trend or something, the neo-westerns have existed since then and gave us some truly amazing films like “Hell or High Water”.

As with every genre and sub-genre, there are of course lots of entertaining, thematically rich and/or thought-provoking films that went under the radar. Here are the ten neo-western films that hopefully will not appeal not only to western fans but to everyone else as well. We’ll have some action-packed ones, more slow-burn types, some funny and some sad – all kinds, so any type of neo-western fan can enjoy.

10. Mystery Road (2013)

Aussie Westerns always deserve attention, so maybe it’s better to kick off the list with this one. It gets especially interesting when they address the issues of racial dynamics and Indigenous experiences in Australia and this film belongs to that category. While there are clearly influences from the American western cinema, the final result is still very Australian.

The film begins with a chilling discovery— the body of a teenage girl found by a truck driver, setting the stage for newly promoted Indigenous detective Jay Swan’s investigation into a crime that is dismissed by his colleagues due to the victim’s Aboriginal background. Facing indifference and hostility from both the white authorities and his own community, Swan’s pursuit of justice becomes a deeply personal reckoning with identity and institutional corruption.

The film was directed by Ivan Sen, who masterfully crafts an atmosphere of tension through minimalist sound design and a slow narrative pace. This can obviously bore the viewers who got used to more action-packed/fast-paced films, but still it’s worth to give a chance even if you don’t like slow cinema much. The cinematography and the ambient sounds in particular, creates such a meditative experience that you feel very involved with the whole thing. You feel Jay’s isolation yourself. The performances are all good, with some notable work from Hugo Weaving and Jack Charles.

The screenplay for the film was inspired by a tragic event in the filmmaker Ivan Ser’s own family involving the unsolved murder of an Aboriginal girl in rural New South Wales and he feels connected to the main protagonist in some ways. Here he aims to present Indigenous culture through a genre lens, using the murder mystery format to explore deeper societal issues that are usually overlooked and the result is impressive. The film later resulted in a spin-off series with the same title.

9. A Night In Old Mexico (2013)

Robert Duvall is an underrated western icon. He feels a little underrated in general as well; the man has made lots of films in so many different genres and his performances in films like “The Great Santini” and “The Apostle” can go toe-to-toe with any actor that are considered among the greatest of their generation.

Duvall’s own favorite performance is in the western series “Lonesome Dove” (arguably career-best work) and he has given many other amazing performances in the genre, both on TV and in film. He’s convincing both as a hero and as a villain; you can just watch him in “Joe Kidd” and “Open Range” to see what he’s capable of doing. That’s why “A Night in Old Mexico” deserves a mention, it’s one of the last films that gives him a chance to shine in this kind of role. Is it a great, flawless film? Probably not, but Duvall’s performance alone makes it worth watching. His performance is full of nuances and brings depth to his character, showcasing not just a tough exterior but also the vulnerabilities that come with age and loss.

Of course, there are other great elements as well. Critics and audiences alike often overlook the film due to its quieter pacing and understated style. The genre is best known for its gunfights and heroic showdowns, that’s why the film taking a more reflective approach, inviting viewers to ponder the complexities of life, family, and legacy probably didn’t appeal to everyone. Back to the performances, the supporting cast has a lot of fun characters. So much so that one critic said it reminds Elmore Leonard novels in that regard. The film might not win the regular watcher’s heart easily but if you love to watch veterans in a great late-career starring role, this is a good one.

8. The Last Stop in Yuma County (2023)

A quirky, independent neo-Western/noir that has a simple story but tells it in a very non-simple way which makes it both thrilling and exciting. It helps that it has a lot of Coens and Tarantino influence in the best way possible. Back in the 90s, indie thrillers like that had more chance to do modest enough box office but now, unfortunately, they get lost. That’s a shame because this taut, stylish thriller deserves a bigger audience.

It’s directed, written, and edited by Francis Galluppi who made his first feature film debut here but his previous experiences at making shorts or music videos are evident here because some shots feel like they’re coming from a seasoned veteran. He was even close to scoring the film as well. The story is set in a remote desert location in Yuma County, Arizona, in the 1970s and follows a traveling knife salesman who finds himself trapped at a remote gas station with a pair of criminals who have just pulled off a bank robbery. Then the situation gets intensified.

The story plays around with the classic Western themes of honor, survival and deception. Even if you’re not a fan of these type of films and think they all come off as very “samey”, you’d still want to give it a chance because the characters here are very colorful and the film has its own ideas that sets them apart from the usual black comedy crime films of its kind.

The cast, in particular, are all familiar faces if you’re into American independent cinema. Galluppi has picked them all without auditioning, and them all being cinephiles and passionate actors about their craft have all added something to it. He claims nobody was there for the paycheck and it shows. The film proves that (neo-)Westerns don’t need epic landscapes or brutal shootouts to be engaging—sometimes, all it takes is a gas station and a handful of interesting characters.

7. The Way of the Gun (2000)

Christopher McQuarrie was perhaps best known for writing Bryan Singer projects, most notably “The Usual Suspects”. After directing this film, he found himself in director’s jail up until finding a new career path by collaborating with Tom Cruise on things like “Top Gun: Maverick”, “Valkyrie”, “Mission: Impossible” franchise, and “Edge of Tomorrow”. One of the many reasons that made him such a reliable collaborator with Cruise is his deep knowledge of cinema. The last phase of Cruise’s career might feel action-heavy but some of them like “Maverick” is much more dramatic while “Edge of Tomorrow” is more comedic with heavy sci-fi elements.

Things like that show McQuarrie’s versatility and here in “The Way of the Gun” he brings a brutal, cynical take on the Western outlaw story. Benicio del Toro who had major breakthrough with McQuarrie-scripted “Usual Suspects” and Ryan Phillipe play two low-life criminals who who kidnap a pregnant surrogate mother (Juliette Lewis), only to find themselves entangled in a deadly game with ruthless mercenaries and mobsters.

The cast is all excellent and it’ll make you sad once again about James Caan’s passing. Who knows why this film didn’t get the attention it deserves because it has everything that many films these days lack; Unpredictable storyline, morally ambiguous and complex characters, stylish shots, and very sharp dialogues. It shows that maybe McQuarrie should try to do something less action-y but more like this with Cruise. Some of the influences are obvious, especially the 70s crime films but “Way of the Gun” feels very original. It has a depth to its story with a screenplay that has wit and holistic tone. The climax alone deserves an extra point. Less innovative than “The Usual Suspects” maybe but certainly worth watching.

6. Down in the Valley (2005)

Edward Norton is not a fan of the cowboy values, at least, not the way it was romanticized in the films. He thinks the whole American ethos of individualism and the idea of taking care of business and family, and of guns manifests itself in “all kinds of weird ways”. That’s how you get that this film will be much different than your traditional western.

Norton and the film’s writer David Jacobson had conversations about what kind of character and story they wanted to bring to the audience. David has told Edward that he’s really interested in fantasy and the role it can play in being a positive act that a person or creates themselves through and then the way fantasy can become negative if a person can’t integrate with reality.

Indeed, his film plays out like an unsettling psychological drama. Norton plays a drifter who has a deep faith in classic cowboy mythos but his obsession with a teenage girl, played by Evan Rachel Wood, soon will turn into something darker than Harlan’s fantasy of a noble outlaw. Even though Norton claims they looked at films like “Lonely Are the Brave” and “Giant”, you can see some conscious or subconscious inspirations from “Midnight Cowboy” and “Taxi Driver” as well.

The film is interesting dissection of the dangers of nostalgia and the consequences of believing obsessively in the myth. The performances are all fine enough, and visually there’s lots of good stuff to be found as well. While it’s shift from a seemingly unusual romance drama to a psychological thriller might be off-putting for some, but it’s still a haunting film worth checking out, especially if you’re into more revisionist type of westerns or are fans of the cast.

Unfortunately, the 2020s haven’t delivered on the thriller front so far. There were some good thrillers like Soderbergh’s “KIMI” or the indie film “Emily the Criminal,” but not many films of recent years feel like instant classics in a way “Silence of the Lambs” or “Se7en” turned out to be. No need to worry, because there are still countless underrated thrillers from the past you can choose from, and they deal with all the favorite subjects of the genre—serial killers, manipulative captors, mental illness, societal decay, obsession, and fractured identities.

Indeed, there are all sorts of thrillers, and this list aims to cover different kinds of the genre, so everyone can find something for themselves. From psychological mind games and twisted relationships to politically charged dramas and haunting personal stories, there are countless great thrillers that still can unsettle and, well, thrill you.

10. Julia (2008)

The year of 2024 had been brutal with the passing of so many acting legends, and one of them was Gena Rowlands, whose terrific film/performance in “Gloria” inspired this gripping Erick Zonca film. This is always tricky because when your film is in the “soul” of an already well-acclaimed film with an influential performance, it’s hard to live up to it.

Somehow, “Julia” manages to feel very distinctive, and not just that, Tilda Swinton gives a complete tour-de-force performance that no wonder an avid film watcher like Paul Schrader called it one of the greatest performances he had ever seen. She plays an alcoholic woman whose desperation drives her into a kidnapping scheme. She meets a woman who proposes an ill-conceived plan to kidnap her estranged son from his wealthy grandfather. Julia agrees, seeing it as a way to make some money, but as usual with thrillers, things get out of control.

This is not an overstatement when you call Tilda’s performance her career best. Not only she carry the whole film, but it’s one of the most complex characters she has ever played, and it makes the film even more interesting; to keep watching this flawed protagonist gives it so many layers. Her performance is raw and chaotic at the same time, perfectly capturing her desperation, manipulative tendencies, and even vulnerability. Of course, many thrillers have an anti-hero, but Swinton’s character is not “cool.” Some of her decisions can be maddening, but it’s her strong performance that brings lots of empathy as well.

The direction is very strong as well; Zonca manages to keep the tension high with a gritty aesthetic and dramatic depth. The film got strong critical acclaim, with lots of praise for its central performance and the direction, but perhaps its character-driven nature didn’t help this to become more popular among the mainstream crowd.

9. Brimstone & Treacle (1982)

Many stars of the music world have tried acting; just recently Ariana Grande was in “Wicked.” Some of these were great at it, like David Bowie, who was very versatile in his choices; some others mostly just did a variation of their own persona and were successful at it (Joan Jett’s “Light of Day”); and there were some others who failed. Sting is an interesting case; he has a decent career, with some highly acclaimed movies and even auteurs in his resume, but his performances were usually not the standout.

One of those major exceptions happens to be the adaptation of Dennis Potter’s controversial play “Brimstone & Treacle”, which uses Sting’s devilish charm really well. This is the film David Lynch saw and decided to cast him in “Dune”. While he’s very good in things like “Stormy Monday,” it’s unfortunate he didn’t get to show more of his “wild side” in his films. Here he plays a charming but enigmatic drifter who ingratiates himself into the home of a grieving middle-aged couple in the suburban England. That couple is Tom and Norma Bates (Denholm Elliott and Joan Plowright), whose lives have been upended by a tragic accident that left their daughter, Pattie, in a near-vegetative state. Martin appears to be nice at first, but soon more sinister things are going to happen that will make you ask: Is he the Devil himself?

Elliott and Plowright, two of the finest Brit actors, are very strong, and Suzanna Hamilton who has a silent role, is also haunting. Most recently, the Danish horror-thriller hit “Speak No Evil” was about the dangers of ignoring red flags. This movie has a similar message and is also critical of blind faith. It’s those who like horror elements strong in their thrillers or are looking for something with a psychological tension that also has a moral edge.

8. Killing Words (2003)

Spain is really good with thrillers, in a way that they often get international attention, especially Alejandro Amenábar and Oriol Paulo films. “Killing Words,” with its own original title, “Palabras encadenadas,” is another film on the list that would have an appeal to fans of the psychological thrillers. Based on a play by Jordi Galceran, the film is basically a psychological game between two lead characters: Laura (Goya Toledo), a kidnapped psychologist, and Ramón (Darío Grandinetti), her seemingly mild-mannered yet chillingly manipulative captor who sure will turn out to be one of the most interesting serial killer characters you have seen, thanks to Grandinetti’s complex performance.

The location is the same, so claustrophobic thriller fans will like that; it’s a basement where Ramón ties Laura to a chair and forces her to participate in a deadly word game. If she loses, she might die. Intercut with this plotline, Ramon is interrogated by the police for Laura’s disappearance. For a film like this to work, you need several key factors: first of all, it doesn’t need to feel like a filmed play. It needs to have its own atmosphere and cinematic language. Luckily, it has it all, and the film benefits from its setting as well as the central performances really well. It uses the dialogue and character psychology to drive the tension. Not every thriller needs some action; overall, the words can be enough sometimes.

The script has lots of twists and turns. Are they all really genius-level writing or full of plot holes? You’d need to reanalyze the whole film after finishing it, but then again, it doesn’t matter because the film is compelling enough. You just want to learn why this woman is here, what this guy wants, and what actually is really going on. And the film keeps you entertained while giving its answers. Certainly an underrated euro-thriller.

7. Closet Land (1991)

Now that we already covered one psychological thriller, which had the two-hander/same location/capturer-hostage formula, here comes another one, and here it’s truly just two people; no other character ever shows up. Before talking about that, what a great decade Madeleine Stowe had in the 90s! She started to focus on her other interests and hasn’t made a theatrical film for over two decades now, but back then, when you saw her in a movie, chances are it was something highly entertaining. She plays an unnamed children’s book author accused of embedding subversive messages in her work. She’s interrogated by Alan Rickman, who once called the film underrated himself.

Said to be inspired by the experiences of Chilean activist Veronica De Negri’s torture under Pinochet during the 1970s, this is a harrowing, almost dystopian film reminiscent of Kafka’s “The Trial.” As the formal interrogation devolves into a psychological battle, the film gets more and more interesting. It doesn’t just explore the totalitarian mind but also the abuser/victim roles between a powerful male and an oppressed woman.

The performances by both actors are excellent, and their parts play to their strengths. It’s not the first time Rickman plays a well-calculated, cold villain or Stowe plays a vulnerable woman, but it’s the writing that makes it interesting and gives both actors a chance to find different layers in these roles. After everything ends, you’ll find yourself talking about state oppression, individuality, the ethics of torturous interrogation, how powerful the literature can be, and of course, the power of imagination. Director Radha Bharadwaj gives almost a theatrical presentation here, but somehow it also feels cinematic. An emotionally draining, unusual, and deeply unsettling thriller.

6. Defence of the Realm (1985)

People love political thrillers for several reasons, as they often tap into the intrigue, suspense, and complexities of political power. They also reflect real-world problems as well as the anxieties, conflicts, and social issues of a particular time. Now that we live in an age where countless people are obsessed with conspiracy theories, no wonder many people enjoy watching secret organizations and covert operations in films.

One of the more underrated political thrillers happens to be “Defence of the Realm”, a British film that begins with a scandal (somewhat mirroring the Profumo affair): a prominent Member of Parliament gets accused of having ties to a Soviet spy. The reporter, played by always reliable Gabriel Byrne, breaks the story but soon finds himself in a deeper conspiracy. The last part of the plot also means that the film also works as a journalist film.

Byrne is known for giving understated performances, and this is one of them, but there’s something very thoughtful, something commanding and charismatic, about his performances that he always manages to carry the movie. The rest of the cast is doing a capable job as well. The direction is atmospheric enough, you get the sense of the paranoia that mirrors the political landscape of Cold War-era Britain.

Yet, for a thriller, it’s probably not “flashy” enough, which is maybe why it got overshadowed by the bigger films of the genre at that time. That’s unfortunate because the script is rich enough, there’s a lot going on here that makes it both thought-provoking and suspenseful. It also has something to say about journalistic ethics and political corruption, and these are all relevant themes even today. The film was acclaimed in the UK and even won a BAFTA in a supporting actor category, but these days, rarely anyone talks about it.

“I’ll be back!”, “Phone home,” “Like tears in rain…” All these lines or speeches are still popular today as ever. The 1980s were such a great decade for the genre. The technological advancement was helping the films look better and go to areas they haven’t before but it was also one of the main subjects of their plots. The fear of technology and it getting out of control are still relevant themes. When you watch these films, they resonate strongly not only for themes but because some of them have a better cinematic look/visuals than many films made today.

That’s the decade that brought us many classics like “Blade Runner,” “Back to the Future,” and “Aliens” overall! Now the visuals were more innovative, narratives were more complex, and even the cheesy films were still fun. It’s also always fun to look at them and see what they predicted right or wrong. The sci-fi was more mainstream than ever.

All that said, amidst the decade’s high-profile successes, there were numerous lesser-known films that flew under the radar but offered equally compelling explorations of sci-fi themes with imaginative visuals. Some of them were full of thought-provoking ideas, and some others were just trying to entertain us. For those who enjoy science fiction but want to dive deeper than the usual hits, hopefully this list will have something to offer.

10. Death Watch (1980)

Before “The Truman Show” and “Black Mirror,” there was “Death Watch”! In a city of the future where death from illness is a rare occurrence, the TV giants have come up with a cynical idea: they are offering their viewers the opportunity to experience a real death in a lifelike way. Katherine (Romy Schneider) is a terminally ill woman who becomes the unwitting subject of a reality show that broadcasts her final days. Thanks to the surgically implanted eyes of Roddy (Harvey Keitel), it’s possible to secretly record her every moment for the show. The fears and despair of the subject, which the camera records and broadcasts on television every evening, actually increase the ratings, but Roddy gets unsure about his feelings on all these things.

Indeed, it’s a premise that would cause outrage, and many people would protest, but many others would watch anyway because it’s not easy to kill your curiosity. It’s a great premise, and luckily the filmmakers managed to make a powerful film out of it. It competed for the Golden Bear and was nominated for some Cesar awards, which are basically the French Academy Awards, but the film didn’t get the international attention enough and seemingly doesn’t get mentioned much now. “The Truman Show” mention here is not just because of the reality TV aspect of the story but because it raises questions about many other things, including the human suffering for mass entertainment, privacy, consent, and just the general dehumanizing effects of media.

The film has a great atmosphere, which is grim but also has a melancholic tone. Romy Schneider shines in the leading role, and Harvey Keitel, a legend who recently didn’t get enough chance to show his incredible talent, is once again giving a very effective performance. The film also features Harry Dean Stanton and Max Von Sydow in the supporting roles, and it’s always great to see them.

9. Dreamscape (1984)

Why not follow a Max von Sydow film with another one? Just like there was “Death Watch” before “The Truman Show,” there was also “Dreamscape” before “Inception” or “Vanilla Sky,” and it has it all—science fiction, fantasy, adventure, horror, and they all blend together in a very entertainingly cool fashion. Dennis Quaid is an actor who had a mostly entertaining filmography, even though recently he switched to more family-oriented and faith-based dramas (with a major exception of “The Substance,” which once again showed how entertaining he could be on screen) but before them, he has made a lot of fun movies that had a high entertainment value. The same can be said about this film.

It follows Alex Gardner, played by Quaid, who is a young psychic who uses this power only for personal gain. He gets involved in a government project that enables people to enter and manipulate people’s dreams. Everything works fine until the president becomes one of the patients, and an assassin attempt to kill him in his sleep follows. Now Alex has to deal to uncover this conspiracy.

This is a very entertaining film that has some of the charm of the B-movies of the old eras but it’s not a dig; it’s actually a film that is smarter than it gets credit for. It certainly has some depth and has even things to say about the political climate of its era. Another thing worth noting is that it never loses its sense of humor, which is very important when you make a film like this. The dream sequences are all highlights which highlight the various genres and tones the film explores, and the credit should go to the director, Joseph Ruben for handling it all really well. He later went on to make other entertaining films like “The Stepfather” and “True Believer” but it feels like big part of his filmography is underrated.

8. Iceman (1984)

The online film community loves to talk about the same directors all the time: Nolan this, Fincher that. However, there are many directors who keep making great quality movies in different genres but their names never get a mention anywhere. The Australian director Fred Schepisi has made films like “The Chant of Jimmie Blacksmith”, “Roxanne”, “Russia House” and “Six Degrees of Separation” and they all work for different reasons.

“Iceman” is a rather less-known effort from him, that walks on the line between sci-fi and anthropology. A group of scientists revive a prehistoric man frozen in ice and call him “Charlie”. Dr. Stanley Shephard is a scientist who gets deeply involved in Charlie’s fate. While examining him, the moral conflicts arise and the plot delves into the tension between the urge to study and the impulse to empathize, examining what it truly means to be human. Dr. Stanley is played by Timothy Hutton who gets one of his other post-“Ordinary People” roles that was very good but didn’t get enough attention (also watch “Taps,” “Daniel” and “The Falcon and the Snowman”).

However, the more credit should probably go to John Lone who plays Charlie as a man who’s not just a subject but also a complex individual. He brings certain sensitivity to the role, with a sense of primal fear. Watching the film examine the relationship between Charlie and Dr. Stanley makes it a very compelling experience and as Charlie challenges the scientists’ assumptions about humanity and civilization, you find yourself asking similar questions as well.

Those who love icy setting will give extra points to this one. “Iceman” was an unusual film to sell and maybe it needed a bigger star to bring attention to the themes, but it’s certainly a movie that goes beyond conventional sci-fi tropes which makes it an unusual and interesting watch. It doesn’t help that it’s not much action-packed and probably has a more subdued tone for the decade dominated by fast-paced entertainment. Nonetheless, it is an intelligent and even occasionally moving, and touching film that asks interesting questions.

7. Brainstorm (1983)

The film is not that unpopular but for unfortunate reasons. This is the finale role of wonderful actress and Hollywood icon Natalie Wood before her tragic death. Her death was ruled out as an accident, but since there were lots of conspiracy theories around it, the film kept getting mentioned here and there. Unfortunately, most of these people are just true crime fanatics or those who love to come up with a wild conspiracy theory rather than watching a film, which is why “Brainstorm” still remains underseen and underappreciated for what it is.

The film is actually a very thought-provoking sci-fi that deals with an interesting concept which is recording and experiencing human consciousness. The story follows a scientist, Dr. Michael Brace (Christopher Walken) and his estranged wife, Karen (Wood), who develop a device that allows users to record and play back human experiences, which will enable them to “experience” the sensations and emotions of another person. However, things get out of control when one of the scientists records her own death and Michael tries to understand what happens when you die.

It’s obviously a very unusual and interesting concept, and as expected from science-fiction films, it explores the ethical and philosophical implications of such device, asking us questions about the technology-human experience relationship and how the technology can change or influence our human experiences and feelings. The idea of “what is real or not” is a common idea for science-fiction but the film taking it to “what if you experience someone else’s reality” makes it even more fascinating. Walken is captivating in the lead role as always but it’s Louise Fletcher who steals the show as a scientist with personal traumas. Surely, the tragic death of Wood has overshadowed the film but it’s a highly intriguing film that deserves to be seen, and one wonders how it didn’t get a remake.

6. Outland (1981)

It’s described by some as “High Noon in space” because of obvious parallels, but this also means if you love both sci-fi and western films, chances are you’ll enjoy this one as well. Even the idea of it sounds cool enough, and luckily, it was all well executed here.

The film stars Sean Connery as Marshal William O’Niel. The role is not any stretch for him but he’s always reliably charismatic in these parts; this one is no exception. His character is a new marshal who begins work at a mining facility on the moon Io. It is one of Jupiter’s four moons, where miners work under inhumane conditions. Our marshal will have to deal with corrupt corporations and its enforcers after uncovering a drug-smuggling operation that endangers the lives of the miners. Frances Sternhagen is coming close to being the MVP by playing Dr. Lazarus, the colony’s feisty and sarcastic medic who becomes Connery’s reluctant ally. Their dynamic are one of the film’s main strengths. The ever underrated Peter Boyle also shines.

The atmosphere is also a highlight with excellent visuals that are not as flashy as some other sci-fi films of the era, but they still contribute to a gritty realism that grounds the story and gives it a distinctive character. Outland’s idea of reimagining the lone lawman trope within a futuristic setting is great but obviously will not work for everyone.

The film didn’t get enough attention at the box office, and the critical reception was lukewarm, which is unfortunate because the film is not some basic remake; it’s actually an interesting experiment. Also, it manages to tackle social issues that were relevant then and still are. Perhaps the slow pacing also didn’t help in the era that was starting to highly rely on fast-paced entertainment, but it’s worth watching for its unique mix of genres and the performances alone.

Lots of people have called the westerns the most distinctively American genre and of course, it makes sense, it usually sets in the American frontier overall! However, as obvious from Sergio Leone’s films, not all the best westerns were made in America. So many people around the world enjoyed the western formula and its mythology. The westerns as a genre can be an allegory for a lot of modern-day issues, the same way as gangster movies or horror movies are which is why it always had a very universal appeal.

It’s not surprising that the influence of the Westerns extends far beyond Hollywood and the American independent scene in general, captivating audiences and inspiring filmmakers all around the world to explore their own tales that are set in a Western atmosphere, or sometimes directly in the American West. These international films may not always feature American cowboys but they embody the essence of the genre by exploring the themes we all know and love to see in these kinds of films.

From spaghetti Westerns to more obscure non-Hollywood gems, Westerns have transcended borders and now in this list, we’ll explore ten underrated non-Hollywood/non-American Western films that the fans of the genre might find interesting, especially because each movie showcases unique cultural perspectives on the Western archetype.

10. The Tracker (2002)

Australia has a long history with Western films, in fact, “The Story of the Kelly Gang” is considered by some as the world’s first feature film, and guess what, it is an Australian Western! That’s why it made sense to start the list with this one because ever since then the country has produced some very strong films in the genre. Perhaps, if you’re a Western fan you already know “The Proposition” which often appears on the best or underrated westerns lists (and it’s certainly great!), so it’s better to go with something more underrated/overlooked. Here we are with “The Tracker” which was described by Roger Ebert as one of the rare films that can be described as “haunting”.

Set in 1922, the film follows a group of white men, including a policeman and two civilians (The Fanatic, The Follower and The Veteran as they’re credited), as they pursue an Aboriginal fugitive accused of murdering a white woman. They are guided by “The Tracker,” an Aboriginal man played excellently by David Gulpilil, who becomes the moral and narrative core of the story.

The film is visually striking and mostly very interesting. For example, rather than depicting violence on screen, de Heer uses paintings by artist Peter Coad to represent moments of brutality, which is an interesting choice and it works. There are several other very fine stylistic choices that highlight the film’s thematic focus on the consequences of colonial violence.

Though the story is set in Australia, its themes of racism and the clash between Indigenous cultures and colonizers resonate globally as it was the case in some other Australian westerns like “The Nightingale” (which is another recommendation in case you haven’t seen). This is a film that refuses to give simple answers to its questions which is why it’d appeal to those who want their westerns to be a little more complex than they usually are.

9. Cut-Throats Nine (1972)

Brutal, dark, depressing, bloody, nihilistic – if all these sound great to you, then you perhaps will enjoy “Cut Throats Nine”, a strong Spanish entry in the genre which also works as a survival film and even as a horror film. It got a lot of attention at the time because some deemed it to be the most gruesome Euro-western of its time but still, it came out during the height of the Spaghetti Western boom, and it got lost among the bigger films of the era.

The film is about a small group of convicts and their escort, Sergeant Brown (played by Claudio Undari who claims the gore scenes were added afterwards to please the American distributors), as they traverse through a frozen mountain pass in the dead of winter. Things take a turn on their way to a remote prison when convicts rebel and kill the guards. The only survivors are Brown and his daughter, who find themselves stranded with the remaining convicts in a desperate struggle for survival. As you can see from the plot, this is not your average western about “good guys vs. bad guys” or about some kind of redemption, it’s a very dark and bleak study of human nature.

Every character here is morally grey, and some are way too brutal. That makes the story only more intriguing though, because it has no hero, no good guy and even by modern standards, it can be shocking to watch these convicts and their internal rivalries’ violence. One thing for sure no one can romanticize violence in this one. That said, it’s not some “torture porn” and it has lots of strong visual choices that gives it a certain poetic quality. The fans of the traditional kind of westerns will be highly disappointed but those who prefer to see darker corners of the Westerns with all its intensity, then it might be a great choice.

8. Deadlock (1970)

Paying homage to Sergio Leone’s films, especially to “The Good, The Bad and the Ugly” are not something uncommon but when they try to do that, there’s always a risk of ending up as a cheap imitation. Thankfully, “Deadlock” has enough of its own character to set itself apart. It helps that it also has strong elements of European arthouse cinema.

This is a small but intriguing film. The story follows “The Kid” who stumbles into a desolate town in a desert, with a suitcase full of cash. Opportunistic man Charles Dump discovers it and then more characters arrive in search of money, including Kid’s ruthless partner “Mr. Sunshine”. Again, regardless of the homage/influence, the movie works so well. First of all, it sets itself apart with its setting. Shot in desert-like landscapes in Israel, the film has a look of its own. While obviously featuring a lots of western trademarks like the gunfights and themes of greed, the film also works as a psychological thriller with its great exploration of paranoia and survival game.

As some other films on the list, here also the film also doesn’t shy away from making its characters unlikable because they’re still mostly motivated by their greed rather than any kind of morality. The filmmaker Ronald Klick uses a dreamlike quality and minimalist approach to build the tension and it works. The atmosphere is indeed haunting, the film almost has a post-apocalyptic feel to it. The soundtrack, by the German rock band Can is also notable, with its score being an interesting mix of rock and avant-garde soundscapes and they add otherworldly dimension to the film. Nowadays, that’s the most popular part of the film in Germany. The film didn’t get much attention outside of its home country but through the years, it managed to gain a cult following.

7. Blood on the Land (1966)

Vasilis Georgiadis is the only Greek filmmaker whose two films got nominated for Oscar in Best Foreign-language Film category, “The Red Lanterns (1963)” and this one. Certainly, the Academy Awards usually bring attention to these films, especially if they win but even if not, them being nominated is still a big deal and it encourages many people to check them out. Yes, even if you hate the Oscars, it still holds a certain merit. However, in this case, it seems not enough people had checked this one out which is a shame. One would wish it was more available in a better quality around the world.

The westerns were very popular in Europe at the time and the Greek film industry was at first not sure what kind of western they could come up with because pretending they’re Americans in an American setting might not have work out well. Instead, Georgiaidis brings attention to deep-rooted tensions between wealthy landowners and poor farmers in a rapidly modernizing Greek society.

It’s about two brothers who return to their village after fighting in the Balkan Wars. Their father has leased a large portion of the family’s land to tenant farmers, causing a feud between the brothers. One of the brothers is more traditional kind and the other one has a desire for wealth, so they take different sides. Things soon get violent. It’s a film that is true to social and political realities of Greece of its time and highlights the struggles of the tenant farmers.

It has the influence of the American westerns but this is not a cowboys vs. outlaws type of story, it’s more about the class, about the rich and the poor, about the old and the new, about community and individualism, justice and greed. That’s what makes it a unique entry for the genre. It’s both distinctively Greek and universal. For those who want their Westerns to explore new cultural landscapes, this is a must-see.

6. Tears of the Black Tiger (2000)

Here comes a truly wild one. Very imaginative Thai film that blends many genres. Romero style horror, Sirk style melodrama, Tarantino style crime film, Peckinpah style western – these are just some of the things that the film got compared to, and for all the good reasons. It’s an equal parts homage and satire. Not only of these things already mentioned, but also of Thai cinema’s own romantic drama and action films of previous times. It’s a very hard thing to do; because you have to show both love and some critique at the same time. Here, they succeed it to make it work because first of all, it’s hard to see anything like it.

The story follows a poor farm boy who grows up to be an outlaw. He falls in love with the daughter of a wealthy aristocrat and the class differences brings the further chaos. The story, while interesting and not something just thrown there for the sake of it, is not the main focus here. It’s this amazing, striking visual choices that makes it fascinating. The film’s hyper-stylized look is reminiscent of Technicolor films from the 1950s, hence the Sirk comparisions. But they have taken it to an extreme, creating a surreal and almost cartoonish aesthetic.

The hallmarks of a classic Western are all there as well but in its heart, it’s a self-aware melodrama with its central focus being the tragic romance between our lead characters. As you can expect, the action scenes are similarly intense and over-the-top as well. They pretty much defy the laws of physics at times and that’s what makes the film so much fun. Beneath all the playful, crazy stuff, there’s still a heartfelt story to be found. Possibly another action-packed Asian film of the time “Crouching Tiger, Hidden Dragon” got all the attention but this one deserved to be seen by more. Its weird charm will impress you.

They say Roger Ebert appreciated all kinds of films and always judged films by their own intention and target demographic. That’s true, that’s what made him special but when you look at it, when it comes to horror films, Roger Ebert was not too easy to please. He rarely gave a horror film his “perfect” 4-star rating and it had to be something like “Halloween” or “The Exorcist” but just check out some slasher you enjoyed from the 80s and the chances are he gave it a negative review. He also strongly disliked “The Tenant”, was mostly lukewarm on “American Werewolf in London”, and “Scanners” didn’t do much for him.

Then again if he didn’t always give four stars to them, he enjoyed lots of horror films, some even much less known than the others. Checking out the iconic film critic’s reviews leads us to some overlooked gems. Here are ten of the fine horror films Roger Ebert enjoyed.

10. Psycho III (1986)

Ebert gave four stars to Alfred Hitchcock’s original masterpiece “Psycho”, saying it works on so many levels because it deals directly with our fears. The first sequel, released in 1983, was directed by Hitchcock student Richard Franklin. It did fine at the box office but received mostly negative reviews. The third installment, however, was directed by none other than Anthony Perkins himself. Ebert noted that perhaps no one understands Norman Bates more than Perkins.

”Psycho” is such a top-tier film that most sequels seem like cash-grabs by comparison. However, Psycho III is surprisingly fun. It’s stylish, full of black humor, has some genuinely great moments, and offers more plot-wise than the second film. The characters are so interesting that it’s easy to get immersed in the story. Perkins does a very capable job behind the camera and delivers some nice tributes to the first film. While it’s nowhere near the original, it doesn’t have to be. Fans of gory kills will also have plenty to enjoy. Interestingly, this is one of the films where Ebert disagreed with Gene Siskel. Though Ebert is known for disliking excessive violence, it was Siskel who found this film disturbing. In this case, it’s easier to side with Ebert.

9. Motel Hell (1980)

Originally meant to be a more serious film, “Motel Hell” director Kevin Connor suggested to producers to add dark humor and play it straight which resulted in a successful satire. It also helped it to not turn out as yet another copy of Texas Chainsaw Massacre, as both films were compared because of the chainsaw fight at the end of the movie. It’s as gory as you expect it to be because it’s hard to satirize the things without also showing them sometimes. While many critics were concerned with the violence in back-to-back slasher movies of the era, they all appreciated the sense of humor “Motel Hell” has about it.

Ebert, a man who sometimes gets so appalled by the violence in films that even gave “A Clockwork Orange” a low score, enjoyed it this time. He said “Motel Hell is not nearly as gruesome as the films it satirizes, and it finds the right stylistic note for its central characters, who are simple, cheerful, smiling, earnest, and resourceful cannibals” and he’s right! Rory Calhoun’s performance is particularly strong. Obviously one could do a little more with the material, the script could’ve been tighter and maybe Connor needed to be a little more confident behind the camera but it’s still so much fun. It had a cult following for a long time but seemingly doesn’t come up in conversations recently and that needs to change.

8. Eight Legged Freaks (2002)

Ebert was not a big fan of trashy horror, maybe found them a little too violent. It’s also well-known that he disagreed with Gene Siskel on “Carnosaur”, a low-budget horror made to capitalize on the success and promotion of “Jurassic Park”. Siskel enjoyed it for what it is but Ebert did not and there’s a funny reference to it on their joint guest appearance on the sitcom “The Critic” but here this time, “Eight Legged Freaks” is an exception for him. Because it’s not a simple cash-grab, it’s a self-awarely made film that pays tribute to 50s B-movies.

It’s made by people who see the charm and fun of the films of a certain era and while poking fun at it a bit, also deliver a genuinely entertaining film with so much wit and thrills. Though nothing will top Tim Burton gathering all these A-list stars for his own homage “Mars Attacks”, still the casting is also great. David Arquette already had the love of horror fans from “Scream” films and Kari Wuhrer was the gorgeous star of the 90s direct-to-video steamy thrillers. She could’ve given better performances if she got the chance as one can see from a random film like the “Hellraiser” sequel she was in. Also, her daughter is played by no other than Scarlett Johansson here! Ebert compared the movie to another, the bigger release of the year “Men in Black II”, saying unlike that one, it delivers “laughs, thrills, wit, and scary monsters”.

7. I, Madman (1989)

The 80s was basically the golden decade of the slashers. Sure, we got lots of bad ones but many of them were somehow enjoyable too if you enjoy all the clichés associated with the genre. “I, Madman” is one of the surprisingly good ones with a supernatural twist. It has more depth and originality than similar films of its era. It follows a wannabe actress employed in an antiquarian bookstore. She is passionate about an old horror pulp novel called “Much of Madness, More of Sin”. She manages to get her hands on the second and final novel by its author Malcom Brand which is called “I, Madmannd it’s about an insane doctor who cuts off people’s noses, ears, and hair and puts them on his face to please a girl he likes. However, it seems like the book is not fiction at all.

Roger admitted that there were some elements that are easy to find in other films of its kind but he also said: “What’s original about this movie is the fun it has with the thin line between reality and imagination, between what Virginia is reading and what is really happening.” The movie is indeed distinctive for its original sides but it’s also cool because it’s reminiscent of the older type of B-movie slashers like “House of Wax”. The director Tibor Takacs later made mostly direct-to-video type of stuff, which is bit of a shame because here and in some of his other early work, he showed great promise at being capable of doing more.

6. Jack’s Back (1989)

Sometimes you watch a network show and go “Oh, this person used to be in lots of great movies, wish they were back”. Gary Sinise, Joe Mantegna, and Madeleine Stowe to name a few. Their presence in mainstream films is missed. Even more so with James Spader who was one of the most original young stars of the 80s and did some truly risky, interesting work in subsequent years. His performance in “Jack’s Back” is one of his best. One can say it won’t appeal to everyone because of its oddness but then again James rarely went for crowdpleasing rides. Though it’s so unpredictable that you might enjoy its original storytelling decisions.

The basic plot is set in Los Angeles and it’s been nearly 100 years since Jack the Ripper’s killings, and someone starts to commit copycat murders. Spader plays dual roles in the film; he’s a charming medical volunteer and then the curious, more serious brother The film is directed by Rowdy Herrington, who later went to make “Road House,” a much different film, but he previously worked on the sets of “A Nightmare on Elm Street” and “Repo Man,” which shows its influence on this film. He rarely did something worth noting since then but Spader was loyal to him, and collaborated on a few more films including the very entertaining/underseen caper film “The Stickup”.

Ebert was highly impressed by Spader’s acting, also noting about the director Rowdy Harrington that “he has taken the trouble to make three-dimensional characters, and paused here and there to provide scenes that make the characters seem real and complicated, instead of just pawns in a movie formula.”

Who says the westerns are dead now? They’re still alive. Of course, now we don’t get them all the time as we used to get back in time but they continue to evolve, and every year we get good amount of entertaining or thoughtful westerns.

2010s was a good enough decade for the genre with major filmmakers like Quentin Tarantino and Coen brothers putting their own spin on the genre and then there were films like “The Revenant” and “Hell or High Water” where the traditions of classic western filmmaking were very strong felt. However, the good or great westerns were not just these films with big-budgets made by the directors we all recognize but there were many other filmmakers bringing their own perspectives on the genre and their timeless themes of revenge, survival and lawlessness.

The westerns can vary, from traditional to revisionist and hopefully the list will cover many types of westerns enough, so everyone can find an underrated gem for themselves.

10. Forsaken (2015)

When the legendary Donald Sutherland passed away, his son Kiefer has described him as “Personally I think, one of the most important actors in the history of film”. Some would think it’s a bias by the son but in this case, it almost felt like he’s underselling his dad. Sutherland had an incredible range and a fascinating career, mixing big blockbusters with European arthouse cinema but somehow, he never worked with his son. They appeared in two films together but never shared a scene, this time was different. “Forsaken” is mostly for those who like traditional westerns.

It’s about a gunslinger with a volent past who decides to leave his past behind but as in most westerns, it doesn’t happen because the land is under siege by a ruthless land grabber. It all seems typical and maybe they are but what makes film work is this beautiful performance, watching the father-son dynamic between Sutherlands feel very personal and gives a film certain authenticity. Kiefer is obviously no stranger to the genre, making “Young Guns” franchise in the past and Donald brings quiet intensity to his part, as a man who of faith who struggles to forgive his son.

The wonderful cinematography and a good pacing which lets its characters to breathe elevates the film considerably as well. Demi Moore is mostly wasted but still a nice presence. Those who never get tired of classic tropes of the genre as long as they’re well-made should enjoy this one.

9. Damsel (2018)

We started off with “Forsaken” because there are many western fans or casual viewers who enjoy their westerns to be as traditional as possible. Then there are others who prefer the western setting to be anything but traditional.

“Damsel” is for those audiences, especially if they love some black humor. Initially you might mistake the movie for a traditional kind; as a tale of a lone hero embarking on a mission to rescues a damsel in distress. That hero is Robert Pattinson as Samuel, who tries to save the love of his life Penelope (Mia Wasikowska who was having a fine run at the time) but the as the film goes on, you realize that this is about something totally different and then the film start to challenge the notion of heroism and “damsel archetype” in such films in a refreshingly offbeat way. That’s where the film’s strength lies because it keeps toying with audience expectations. Those who don’t like their films to challenge them may find it frustrating but those who don’t will enjoy this one’s quirky tone and its minimalist aesthetic a lot.

Admittedly, another thing that may alienate viewers is its runtime because the narrative flow and pacing of the second act is not as good as the first and the third. So, cutting it a bit would’ve worked for it but still it’s funny sequences, surprising twists and fine performances, which includes a great brief part for the late Robert Forster makes up for it. Its unique style makes it worth-watching.

8. The Salvation (2014)

Mads Mikkelsen and Eva Green previously starred in the great “Casino Royale” and they collaborated once again in a less seen but pretty cool western titled “The Salvation” which is a gritty Danish western made in the style of classic American westerns. Mikkelsen is not a huge fan of the genre, but luckily he agreed to star in it because his presence is fitting the atmosphere and the genre so well. He plays a Danish immigrant whose peaceful life is shattered when his wife and son are brutally murdered shortly after their arrival in the American West. He seeks justice and then faces off a ruthless gang led by Jeffrey Dean Morgan.

Denmark is not necessarily a country you’d think of when you hear westerns but everything works so great here. The influences from Sergio Leone and Walter Hill are well-evident and the film doesn’t claim to be anything overly original. What works here so great is the atmosphere, the violence, the amazing cinematography, the bleak tone, haunting performances by Mikkelsen and Eva Green, who’s silent for the most film but still gives an impressive performance. The cinematography is so strong that if you watch the film on mute, it still would work somehow. This being a classical type of Western made with a European perspective turns this tale of revenge and justice to something fascinating. It’s brutal but also poignant.

7. The Wind (2018)

The westerns can also give you some chills. The films like “Ravenous” and “Bone Tomahawk” are cult classics these days for a reason overall. Directed by Emma Taimi who later went on to make a box office hit that is “Five Nights At Freddy’s”, this atmospheric Western sets in desolate plains of the 19th Century American West.

The film follows Isaac Macklin and his wife Lizzy who have left Missouri to settle together on a small farm, swept by incessant winds, in a desert region of New Mexico. Abandoned by her husband who is often absent for several days, Lizzy keeps herself busy as best she can. The routine of their peaceful daily life is shaken by the move of another couple, the Harpers, into a neighboring barn. They quickly become friends and Lizzy takes younger Emma Harper under her wing. She becomes attached to her because she is expecting a child, which reminds her of her stillborn little boy. But, very quickly, the latter’s distress only increases when she tirelessly claims that evil forces are trying to harm her.The question arises: is she succumbing to madness, or is there a malevolent force at work in the wilderness?

For the fans of unconventional and somewhat slow-paced horror, this is a gem. Others might find it alienating. The slow-burn pacing is so perfect for this because it builds the suspense and psychological horror aspect perfectly. The minimalist score and the cool visuals also add a lot. Certainly, one of the more haunting westerns of the recent times.

6. Dead Man’s Burden (2012)

Rather low budget effort with no stars in them, “Dead Man’s Burden” got mostly positive critical reception by the critics. At the same time, they were quick to mention that this film will probably not be seen by many and they were right. Not only for the mentioned reasons, but also because it has a rather slow pacing which wouldn’t appeal to the fans of rather commercial, fast-paced westerns. But those who love a character-driven narrative should check this film out.

Set in the post-Civil War era, the film mostly focus on the relationship between siblings Wade (Barlow Jacobs) and Martha (Clare Bowen). Wade was presumed dead in the war but suddenly he returns to his family’s homestead only to find that his sister has taken control of the land and is preparing to sell it. Then the whole film turns into a character study and a morality play. It’s not just about the plot though, the cast is doing a very strong job with the material they’ve been given and the atmosphere and emotional depth are certainly there.

Its simplistic sides only makes the narrative stronger somehow. And it’s always interesting to see how director and cinematographer uses the modest scale to their advantages on such films and indeed the visuals are beautiful, gives the movie a raw, naturalistic style. Of course, it can be off-putting for some who got used to only watch westerns that are shot on film but this is a movie worth to give a chance for. It offers a quiet, contemplative look at the cost of survival and the weight of family bonds. This is a film more thought-provoking and intelligent than you’d expect it to be.

The 1980s was a fine enough decade for the crime cinema. Brian De Palma switched to the crime genre from his thrillers and made classics like “Scarface” and “The Untouchables”. Michael Mann and Abel Ferrara were delivering great films in the genre, even though they were still the indicator of even better films to come.

Still, the films of that decade were more leaning into action rather than old-school straight crime stories. The people now wanted to see more films like “Lethal Weapon”. Even much-acclaimed films like “At Close Range” feel underrated in retrospect, let alone titles that will appear on this list. However, as usual, it was a decade full of very well-made stuff. Here are ten stories of crime from the 80s that you might have missed for some reason but they all are worth checking out for various reasons.

10. The Professor (1986)

Guiseppe Tornatore is perhaps best known for, well, his entire filmography except for this one. That’s understandable because it was his feature film debut and him getting worldwide recognition was for his second film “Cinema Paradiso”. Since then he made a lot of popular films, though never exactly came back to this genre in this way.

If we’re talking about underrated, we talk about Ben Gazzara. Cassavetes favorite whose credits include wonderful films like Peter Bogdanovich’s, “Saint Jack”, he plays a character based on Raffaele Cutolo. For those who don’t know, Cutolo was an Italian crime boss and leader of a criminal organization that built to renew the Camorra, a criminal society originating in the region of Campania in Italy. It starts off like a rags-to-riches type mafia story but Tornatore is very careful to not glorify the lifestyle and instead creates an authentic and gritty look on the crime world.

Gazzara’s performance is very effective, especially at the moments where his character starting to lose his mind. The film is long enough and it makes sense because it was supposed to be five hour-long television production at first. Then again, the pacing is so good that you don’t feel like the length at all. For mafia film lovers, this is a good one to check out.

9. True Confessions (1981)

The gruesome murder of Elizabeth Short, known as “Black Dahlia” is one of the oldest unsolved cases in Los Angeles County and one of the most famous of its kind that had a lasting cultural intrigue. Many films, books, songs, and so on were inspired by it. One of them was a noir novel by John Gregory Dunne which was later adapted into a film by Belgian-born director Ulu Grosbard, best-known for directing another great crime film “Straight Time”.

This film might have been better if Robert Duvall and Robert De Niro switched their roles but there’s something satisfying to watch these two acting legends together. This is not a film about who might have killed the Black Dahlia but it’s more of a character drama that focuses on relationships. Duvall plays the lieutenant who’s in charge of the case and De Niro is his brother with whom he’ll have to clash.

The film works well because the script is complex enough and so are the lead characters. They’re not some non-flawed heroes or anything, they all have their own bad sides and that’s what makes the film interesting. “True Confessions” is for those people who want to watch a thoughtful, atmospheric character study rather than a suspenseful genre flick.

8. Choice of Arms (1981)

Those who love French cinema would probably never miss a flick that stars Yves Montand, Catherine Deneuve, and Gerard Depardieu together but still, it’s important to remind them to check it out because it’s certainly an underrated one or maybe “underseen” is the better word for it. Depardieu plays an escaped convict who meets a former gangster and his wife. Things soon get out of control. It’s probably not the best way to describe the plot but it’s one of those films where it’s best to now know much about the plot and let yourself be surprised by the incredibly well-staged film.

One of the many things that makes the movie a rewarding experience is how well each character is written. There’s no character that feels like a plot device or anything, they’re fully realized and analyzed. It helps that Alain Corneau shines here as a director with such a personal style of filmmaking. It’s also impressive how he handles the story that zigzags all over the place. It’s not a film where you root for any character in particular, there are no good guys and bad guys necessarily. That’s what makes the film so fascinating. Avoiding typical genre structure might be off-putting for non-experienced viewers but the rest will appreciate it a lot.

7. White Mischief (1987)

We already had a film about a famous unsolved murder case. “White Mischief” is one of those films that deals with an unsolved murder. At least that’s how it was when it came out but for more than a half a century it fascinated the nation and kept the national interest. The film is about a British aristocrat who is shot dead. That person was Josslyn Hay, the 22nd Earl of Erroll, a British peer and a member of the British Union of Fascists.

The film is based on the investigation book which deals with his murder case in Kenya in 1941 and it was a very good one. The movie goes behind the murder which had no witnesses and the physical evidence that appears incriminating is also circumstantial but mostly, it explores the people involved with the case with well-written psychological analysis and witty dialogues. It helps that the movie also has an amazing cinematography and a great cast. The era where Greta Scacchi was more of a popular name is certainly missed and watch out for the appearances by John Hurt and Hugh Grant.

The film also works well because it takes you to the lifestyle and social posture of the British in colonies before they achieved their independence. Stylish crime film found its audience in the UK but deserved more recognition by international viewers.

6. Family Business (1989)

When we talk about great actor-director collaborations, we have to always mention Sean Connery and Sidney Lumet. “Murder on the Orient Express” was so much fun but the other two “The Hill” and “The Offence” might be the two of the absolute best performances Connery has ever given. Lumet knew how to take it from it, he was well aware of his strengths as an actor and was using this brilliantly. Their last collaboration, which co-stars Matthew Broderick and Dustin Hoffman was unfortunately a flop. Some deemed the script unsatisfying and some complained about the casting. This is why the film is ranked a little higher on the list than maybe it should have, not because it’s better than the many here but because it feels the reaction to it was harsh.

There’s almost a charming, warm quality about how family dynamics work out here. It becomes fun to watch these three actors interacting with each other or with the rest of the cast for that matter. Yes, they don’t look alike much and Connery was only seven years older than Dustin but it doesn’t matter Probably, people had too much expectation given the talent involved but their negative reviews/disappointment made many others to skip this, while this is a very good film about family royalty and also a fun caper story.

It’s not too easy to describe the main characteristics of the cinema of 2000s. Mostly because it might give a bad vibe. Especially if you’re one of those people who’s tired of the franchise-driven industry, complain about Hollywood’s safe choices, or miss the good old days when mid-budget studio dramas were profitable, then yes, unfortunately, the 2000s is where it all began. While independent films were still on the rise, the development of special effects led studios to focus more on big-budget “event” films that they clearly intended to turn into franchises.

That said, it was still a fantastic decade for cinema, with many innovative films, boundary-pushing new wave of directors, interesting experiments, and powerful performances. When you dig deeper, you’ll find a remarkable number of underappreciated films in every genre. Some of these films received Oscar nominations and widespread critical acclaim but have since been forgotten. Of course, there’s always time for re-appreciation, which is what we’ll do here. Amidst the noise of blockbuster franchises, many exceptional films slipped under the radar, especially those not backed by major distributors with the hopes of Oscar recognition. This has always been a problem in the industry because marketing is very important.

Nowadays, indie companies like A24 and Neon are doing a great job promoting their films, but over the years, many other smaller companies didn’t know how to handle their rather small films. Many still don’t. Whatever the reason, the 2000s was an era that yielded a good number of underappreciated films. In this article, we’ll shine a spotlight on 10 of these underrated films from the 2000s, and hopefully, there’ll be something for everyone.

10. Panic (2000)

In the late 90s, the topic of the mid-life crisis became increasingly popular in American cinema. No matter what you watched, there was always some guy disappointed with his life and job. Even the decade ended with the Oscar win of “American Beauty,” which explored similar themes. Maybe that’s why “Panic” got lost among them. It’s not exactly the same genre as “American Beauty,” but then again, it’s hard to classify “Panic” because it’s a little bit of everything: dark comedy, drama, and crime thriller—it has it all and blends them surprisingly well.

William H. Macy is the master of these kinds of deadpan roles, and he gives a strong performance as a hitman named Alex who’s stuck in a career he no longer enjoys. His questions about his marriage and overbearing dad (played amazingly by the legendary Donald Sutherland) become so overwhelming that he goes to a therapist… whom he soon learns he has to kill. Then Neve Campbell’s character enters the picture as a young woman who might change Alex’s worldview.

This is a complex but also entertaining film about family, personal identity, and even daily life struggles. It manages to take on heavy themes with such a nice sense of humor that it becomes quite easy to watch and surprisingly relatable as well. For a film that successfully blends different genres and deals with dark themes, the filmmakers did an outstanding job of not messing it all up and instead gave us a well-shot film with a sharp script. The film received excellent reviews but probably came out at the wrong time.

9. Nothing but the Truth (2008)

One of the reasons why these films end up being “underrated” is mostly because they’re underseen, and the reasons behind it can vary. Sometimes a film becomes a hit but then becomes hard to purchase on physical media, and in the age of streaming, it’s especially hard to find some films if you rely on your favorite streaming platforms. Many great films are not available to watch at any platform which is crazy.

“Nothing but the Truth” had that sort of problem from the beginning—it couldn’t get proper distribution, which hurt it greatly. That’s a great shame because it’s such an engrossing political thriller that has something to say about journalistic integrity, personal sacrifices, work ethic and dignity, as well as government secrecy. Kate Beckinsale delivers one of her best performances as a journalist who exposes a covert CIA operative’s identity, leading to a fierce battle with the U.S. government.

The film explores the consequences of her decision, not just on a political level but also on a personal one, as she faces imprisonment and the erosion of her personal life. There’s a lot of thrills and tension to be found, but what makes the film work particularly well is watching our lead character’s mental strength in not giving up. The film also works as a courtroom drama and has a rich supporting cast, especially Vera Farmiga, who steals the show in a limited role. In the end, you’ll find yourself questioning or discussing the limits of press freedom and many more.

8. The Contender (2000)

“Nothing but the Truth” is directed by Rod Lurie, who years earlier explored similar themes in a different way in “The Contender,” a film that ended up getting Oscar nominations. That’s great, of course, but since then, the film has started to be forgotten a bit, which is understandable because, by the looks of it, you might think it’s just another Oscar bait drama and ignore it. Films about American politics, especially, tend to be ignored by international audiences. However, “The Contender” is not just about American politics. It’s a sharp political drama that examines double standards (especially regarding gender) which is a universal thing.

Just like “Nothing but the Truth,” it is about staying true to your principles and the sacrifices that come with it. It gives you lots of questions to discuss, especially about the public’s right to know versus the private lives of public figures/politicians. Some might be disappointed by the less ambiguous ending, but the message is so strong and the performances so powerful that it doesn’t bother you.

Joan Allen (who really needs to be in more movies) and Jeff Bridges got well-deserved Oscar nominations, but Gary Oldman’s chilling performance was overlooked. Another standout is Sam Elliott, who gets to share great scenes with Jeff Bridges once again after “The Big Lebowski,” albeit playing wildly different characters this time. In our modern era, where smear campaigns against public figures are still so common and where we can easily be manipulated by false information and rumors, “The Contender” resonates strongly.

7. The Matador (2005)

This is the type of film we kind of miss seeing in cinemas these days. Even when it came out, it felt refreshingly offbeat compared to other crime comedy films of the time. Pierce Brosnan is a wonderful actor who can show vulnerability and comedic timing, but he’s also a charismatic :movie star”. That’s why he spent a large part of his career playing Bond-esque characters that heavily relied on his charm, like in “The Thomas Crown Affair.” But then “The Matador” came up, marking the start of his character actor era. He gives one of his best performances by shedding the Bond persona here as Julian Noble, a burnt-out hitman going through a midlife crisis.

He plays opposite Greg Kinnear, who made a career out of playing mild-mannered businessmen. It’s not a diss—Kinnear is good at it and terrific in many films, especially in Paul Schrader’s “Auto Focus,” and he gets those roles because he’s so good at them. One can call him underrated even. What follows is a strange yet oddly touching (and funny) friendship that develops between the two characters as they each grapple with their respective life challenges.

For a film like this to work, chemistry is important, and it’s amazing between Brosnan and Kinnear. They both deliver on both dramatic and comedic fronts. The film itself, directed by the underrated Richard Shepard, also does a great job of balancing dark crime comedy elements with emotional depth. And of course, it’s always nice to see Hope Davis.

6. Happy Accidents (2000)

Speaking of underrated directors, Brad Anderson is one of those. The man has made many entertaining and intriguing thrillers/horrors over the years, like “Transsiberian,” “The Machinist,” and “Session 9,” but no one knows his name. Interestingly, he started his career as a romantic comedy filmmaker—not your average fluffy studio rom-coms, but rather interesting indie ones. The first was “Next Stop, Wonderland” starring Hope Davis, whose couple of films are also featured on our list, and the second was the unconventional film called “Happy Accidents.”

It stars Marisa Tomei as a woman with a history of failed relationships who finally meets the perfect boyfriend in the form of Vincent D’Onofrio, who claims to be a time traveler from the future. Is he insane? Is he telling the truth? Does it even matter? Then again, maybe it doesn’t matter. It’s just an element here—even though you’ll try to keep guessing the truth, the real reason behind this fantasy element is just a tool to explore their relationship and the themes of love and the universal desire for connection. That’s where the charm lies.

Tomei is no stranger to playing women who fall in love with oddballs (you should watch “Untamed Heart” if you haven’t), and here she and D’Onofrio have amazing chemistry together. Even those who usually don’t like quirky stuff might find themselves charmed by this one. Nothing wrong with his other work, but maybe Anderson should try to do one more rom-com again.

It’s true that for the last few decades, the Westerns have become less popular even though there are still occasional hits theatrically and its influence is everywhere. Kevin Costner’s recent attempt to bring the genre back to the big screen failed, but it’s admirable that there are still filmmakers who want to keep the old-school westerns alive in theatres and not just on Taylor Sheridan’s shows. Then again, obviously, the genre is more than just traditional/old-school kind. Many filmmakers put their own twist on the formula, and this list aims to have them all: from character-driven dramas to genre-blending tales.

This variety is what makes the genre so fascinating: to a non-fan, Westerns might all look the same, but a deeper exploration reveals a multitude of perspectives on the American West. The Western has evolved significantly over the years as a genre, reflecting changes in societal values and cinematic trends, making it captivating to observe these transformations. In this list, you will find ten Western films that are hopefully diverse, ranging from genre-bending ones to revisionist “anti-Westerns” to more traditional stuff. So hopefully, regardless of what kind of western you like, you might find something for your taste here.

10. The Last Wagon (1956)

There will be different sorts of Westerns on the list but if you clicked here, perhaps you were looking for typical, more traditional, and true-to-formula types of movies and that’s why we start off with a film like that. The plot is about a white man raised by Comanche Indians who is accused of murdering the Sheriff’s brothers. When a wagon train is attacked, he becomes the leader of the survivors, guiding them through hostile territory.

As it’s been said, this is more of a traditional type of Western but there are several things that set it apart. One of them is Richard Widmark’s performance as the lead character Comanche Todd, which is a big reason why you should check this film out. It’s one of his most underrated performances; he brings his own trademarks to the role and gives us a perfect mix of ruthlessness, kindness, and charm. In his hands, the character gets more sympathetic and complex at the same time. In some scenes, you can see he’s doing some of his own stunts as well which makes the experience even richer.

The music and the cinematography are both excellent. The sets all look very authentic and the costumes also. It’s also a message movie and has things to say about American social justice. Gets extra points for its attempt to offer a nuanced portrayal of Native American culture. If you’re not a fan of “same old”, skip this one but if you can’t get enough of well-made traditional stories, then you need to give this one a shot.

9. Comes a Horseman (1978)

Compared to the other titles on the list, this one is a little more popular as Alan J. Pakula’s filmography is still celebrated around in internet circles and the leading cast is full of well-known names. That said; this film which deserves to be called a classic still doesn’t get enough recognition.

Before we devolve into other aspects, cinematography should get a mention first. When you watch this film you realize how much the Academy did wrong to the prince of darkness that is Gordon Willis. The cinematography is so lush, so mesmerizing that at times you stop paying attention to the story but just focus on its beautiful visuals. However, the movie is a stand-out for other reasons as well, in how it explores partnership and the encroachment of modernity on traditional ways of life. James Caan is fine, he has some solid on-screen chemistry with Jane Fonda but it’s she and especially the great, underrated Richard Farnsworth’s scene-stealing performances that stay with you the most.

It’s understandable why it didn’t get bigger than it deserved. Pakula was doing great films back-to-back, and he was collaborating with his “Klute” star, so when the film didn’t connect with people they saw it as a failed prestige project. Sure, there are obvious flaws in the film, Pakula doesn’t bring the intensity of his previous films “Klute” and “All the President’s Men”, and the ending doesn’t strike as it should. Yet, it’s still a worth-watching experience because it’s an unusual kind of western, with an interesting love story and will particularly appeal to those who don’t mind slow-pacing.

8. Zandy’s Bride (1974)

Continuing with a film that some would deem “artsy” and no wonder why, the Swedish director Jan Troell was delivering back-to-back acclaimed dramas at that time and he then decided to make a film in America. Despite starring two names well-known to cinephiles everywhere, “Zandy’s Bride” is a rather obscure entry in their respective filmographies.

Set in 1870 in Northern California, Hackman plays Zandy Allan, a gruff cattleman who enters into a mail-order marriage with Hannah Lund (played by Liv Ullman). Hannah is a strong-willed woman who refuses to be treated as some sort of property but don’t think of it as a typical romance story where a warm woman melts a cold man’s heart and they live happily ever after. It’s rather complex and dark than a film with such a subject would suggest in mainstream American cinema.

The movie navigates the hardships of this kind of pioneer life but also powerfully explores a tumultuous marriage. Even though their relationship has bitterness, it also turns into a deep but also complex bond. The filmmakers treat the psychology of our lead characters with such sensitivity. They’re written and played with full of inner tension. The cinematography has its own poetic, compelling look and the lead performances are both brilliant, bringing authenticity to their well-developed characters. It didn’t get much positive response from the critics back then but given how unusual kind of a film it is, maybe it’s time for re-consideration.

7. The Culpepper Cattle Co. (1972)

Now after a character-driven relationship drama, we move on to a coming-of-age western this time. The early 70s of American cinema brought us some revisionist Westerns that had a sharp contrast to the romanticized vision often depicted in previous eras. “The Culpepper Cattle Co.” is one of the best films of that era and interesting enough is also Jerry Bruckheimer’s first producing credit who stayed away from realistic films like this over the years since then.

The film is about a young man Ben Mockrdige who’s just cowboyin’ around until he meets Frank Culpeppe and asks him if he can join his cattle drive to Fort Lewis, Colorado. He will soon discover the brutal, harsh realities of the life he idolized and how this world has no respect or interest in the young, how it is full of selfish people and certainly not full of heroes.

The movie was widely praised for its attention to detail and deservedly so, it has so many nuances that should be recognized. However, one thing the film should be applauded for is how strong and uncompromising it is when it comes to portraying the psychological and physical toll of cowboy life. The cast is full of excellent performances and some of them is familiar to western viewers, including the much underrated scene-stealing Geoffrey Lewis. He never got the attention he deserved probably and here he delivers one of his finest performances in the genre.

6. Wild Rovers (1971)

Yet another western film that’s not necessarily your traditional kind, this one is a “buddy” western film if there’s such subgenre as most of the film deals with the friendship between our two lead characters. Not the type of film most people would think of when they hear the name Blake Edwards but with “Wild Rovers” he delivered a melancholic, moving film, There are obviously some light elements that make it obvious that it comes from Edwards but still, his use of action is impressive and even though it’s been said that large part of the film has been re-cut by the studio much to Blake’s dismay, the resulted film still works a lot.

It has some of the other trademarks of Blake’s filmography such as very well-written, sharp dialogues and the lead actors William Holden and Ryan O’Neal are doing a great job with them. O’Neal, in particular, was having a great era back in the time where he was shining in roles that had wit dialogues, as in his films with the great Peter Bogdanovich. Here they play two cowboys who decide to rob a bank and flee to have a better life. The robbery part is not too exciting but it doesn’t matter because the leading chemistry, amazing Jerry Goldsmith score (whose music is also used in “The Culpepper Cattle Co”), and gorgeous cinematography makes this entertaining enough to overcome its flaws. Surprisingly thoughtful also.

The 90s was a great film decade for many reasons. It was an era where the independent films such as “Pulp Fiction” and “Fargo” were getting mainstream attention, the studios was still producing mid-budget films like “Jerry Maguire” and the blockbusters were fun enough without getting extended into Marvel-like universes or whatever. There was something for everyone and the balance was there.

Nowadays, it’s almost impossible to think that film like “Forrest Gump”, regardless if you like it or not, would be the highest-grossing live-action film of its year. When you look at the highest-grossing films of their years, you might see adult dramas like “A Few Good Men”, “Philadelphia” and provocative films like ‘Basic Instinct”. It helped that there were still movie stars and people went out to see their new movie. Now it’s time to go back into the decade again and explore some of the less appreciated great films of the era and hopefully, once again, there will be something for everyone.

10. Impromptu (1991)

Let’s start off with a delightful film, seemingly a biopic but not your traditional one. In fact, it begins as a comedy of manners, as various creative personalities from the early to mid-1800s gather one weekend at a country estate and proceed to bicker amongst themselves. You expect it to be some kind of Jean Renoir “The Rules of the Game” type and it indeed has things to say about class and many other things. However, the film chooses to focus on the romance between composer Frederic Chopin and novelist George Sand Davis is a riot; she’s amazing and full of energy, and makes Sand a fascinating character to watch. Her character is showier and very well-written, so it gives her rich material to work with.

It’s also possibly the first romantic comedy role for Grant who will have bigger success with the genre later on his life, up until 2010s where he decided to back go his character actor roots with films like “Florence Foster Jenkins”, “The Gentlemen” or on television as in “A Very English Scandal”. Mandy Patinkin delivers some witty dialogues, Emma Thompson is a delight as always, and Bernadette Peters is wonderful also. The ensemble cast is just awesome here but one should also give a shout-out to Julian Sands who tragically died in 2023. You can see what an impactful performance here, in this intelligent and charming comedy with a gentle soul.

9. Cold Comfort Farm (1995)

It makes sense to follow a very charming British film with another British charmer. This time an adaptation and a very excellent one. After the death of her parents, young Flora Poste goes to stay with her country relatives. This part of her family is full of eccentric people and everyone of them has their own problems but can this modern young woman solve their problems and make the farm flourish again with imagination and joy? Probably, yes. This is yet another adaptation for the list, and an excellent one. Very earthy adaptation of Stella Gibbon’s 1932 novel is directed by the great John Schlesinger. He has made countless great films including |Darling”, “Midnight Cowboy”, “Sunday Bloody Sunday”, “The Day of the Locust” and “Marathon Man” in first half of his career.

“Cold Comfort Farm” is probably the last great film he directed as his subsequent efforts “Eye for an Eye” and “The Next Best Thing”. This one premiered on television but actually got some theatrical distribution in North America with strong reviews. Schlesinger’s direction was heavily praised as well as the wit and sharpness of the script. Those who love Thomas Hardy, D.H. Lawrence and Jane Austen’s books will particularly find this enjoyable but it has a lot of charm to offer to non-lovers of those also because in a way, it also sort of subtly parodying Austen clichés and it works so well.

8. Sweet Jane (1998)

Lack of distribution is always a big problem when it comes to films that didn’t get much attention. “Sweet Jane” stars two well-known names: Samantha Mathis and Joseph Gordon-Levitt. Mathis is a rather underrated actress who made a feature film debut with cult classic “Pump Up the Volume” and had starred in films like 94’s “Little Women” or another underrated film “The Thing Called Love”, which could be here on this list and it’d be very fitting also. Gordon-Levitt was the star of “3rd Rock from the Sun” but “Sweet Jane” came around the time when he was not a bigger name yet. These days, it’s almost impossible to hear this title unless Gordon-Levitt somehow mentions it in an interview.

This is a rather sweet film about a sensitive issue and a very unusual relationship. The film follows HIV-positive addict Jane (Mathis) who leaves the hospital and gets followed by a teenager (Gordon-Levitt) who is diagnosed with AIDS. They somehow form a bond. The film deals with many topics including the addiction, dealing with terminal illness, trauma and friendship. While it’s obviously sentimental, thanks to these actors, it doesn’t feel phony or forced. There is a lot of raw emotions to be found. As the film is low-budget effort, its director wisely decide to focus his camera on these two actors and they both are equally great. Those who love films that deal with lonely people, this one is a must-see.

7. The Music of Chance (1993)

“Angels and Insects” was close to be on the list but ultimately, this Paul Auster adaptation by the same director felt like a superior film to go with. Jim Nashe, a former firefighter traveling across the States in his new car, gives a ride to Jack Pozzi, a poker player, on the way. Pozzi tells him how he managed to arrange a match with Stone and Flower, two billionaires, but he has a problem: he doesn’t have the money needed to face them. Nashe, attracted by the profit, is convinced to invest in the game and gives all his savings to Jack Pozzi. Having gone to the villa of the two billionaires in Pennsylvania, things turn out to be terrible as they lose everything. Stone and Flower, two eccentric types, who have become rich thanks to the national lottery, make a singular proposal.

If more given about the plot, you’d think it sounds bizarre and it really is but it’s also brilliant. Then again, it makes it harder to explain to those who haven’t seen it. The acting is all-around excellent but James Spader particularly shines. All characters are interesting and the film basically deals with the philosophical question of “chance or fate?”. It’s also one of those films that refuse to explain itself, which makes It even more interesting. Roger Ebert described it as ”one of those movies you can argue about for hours.” And sometimes that’s all we want from movies.

6. The War at Home (1996)

At some point in the 1980s, Emilio Estevez was arguably most popular and in-demand name of his famous family. He successfully switched from teen hits of “The Breakfast Club”, “The Outsiders” and cult film “Repo Man” to rather adult man roles in “Stakeout” and “Young Guns”, before subsequently being the family film star in “The Mighty Ducks”. Displeased with the film offers, Estevez wanted to make his own films and up until to the much more relaxed “The Way”, he had a similar formula; the slowly tension builds up until final big moment, “Bobby”, “Rated X” and now our subject, “The War at Home”.

One can criticize Estevez for being heavy-handed at times and not being able to adapt the material cinematically from stage to film but not everyone can be Sidney Lumet. He has made a very respectable directorial effort here, and shines as an actor playing a Vietnam War veteran who blames his father for what happened to him. It’s not an easy to watch, you can’t help but feel sorry for his character as well as the others trapped in the situation. Estevez, Kathy Bathes (as mom) and “Father of the Bride”s Kimberly Williams are all good but it’s Martin Sheen who’s the MVP- Emilio knows what a powerful presence his father can be. There are several strong scenes here that hits you hard and once again reminds the tragic consequences of wars and warmongering.