New York movies: The 100 best films set in New York City
From King Kong's spire down to the scummiest subway tunnel, TONY ranks the definitive list of the 100 best New York movies: crime dramas, romantic comedies, documentaries and more.
Tue Jul 3 2012
25th Hour (2002)
Bombastic, wrenching and heartsick, Spike Lee’s drama remains the great post-9/11 love letter to New York City—filled with American flags and displaced rage—as seen by a drug dealer (Edward Norton) about to head to jail for seven years. He bids goodbye to the messy, wounded, wonderful chaos of the city with one last night out, surrounded by everyone close to him.—Alison Willmore
The Clock (1945)
A WWII soldier (Robert Walker) falls for city girl Judy Garland while on two-day leave, and he romances her in cathedral-size, extras-populated re-creations of Gotham landmarks such as Penn Station, Central Park and the Metropolitan Museum of Art. Directed by Vincente Minnelli (and an uncredited Fred Zinnemann), this spellbinding romance is golden-age Hollywood at its finest.—Keith Uhlich
All That Jazz (1979)
Ping-ponging from a West 58th Street pussy-hound duplex to troubled Broadway show rehearsals and endless editing on his latest motion picture, Dexedrine-fueled director Joe Gideon (Roy Scheider) makes extreme exhaustion look positively electric. Bob Fosse’s self-destructive film à clef proves it: Only in New York can workaholism be considered hedonistic.—Stephen Garrett
Little Fugitive (1953)
Convinced he has killed his older brother with his toy rifle, a seven-year-old Brooklyn boy hightails it to Coney Island, where he wanders around with gaping wonder. This pioneering child’s-eye production captures its summery setting with a casual realism that François Truffaut credited as a major influence on The Four Hundred Blows.—Keith Uhlich
American Psycho (2000)
Flattering Bret Easton Ellis’s stone-cold satire with a devilish Christian Bale performance and scalpel-sharp period detail, Mary Harron’s thriller is close to peerless as a picture of ’80s-era vapidity and entitlement. This is the Manhattan of chichi painted plates (and securing the impossible restaurant reservation), Phantom of the Opera visual jokes and pounding dance clubs.—Joshua Rothkopf
Goodfellas (1990)
An Irish-American kid (Ray Liotta) gets his hands bloody with Brooklyn’s Italian-American wiseguys, shaking down everything from small-fry operations to JFK cargo freight. Martin Scorsese’s exhilarating biopic is a harrowing tribute to those who’d rather snake through the kitchen of the Copacabana and pistol-whip neighbors than endure law-abiding life like a schnook.—Stephen Garrett
Breakfast at Tiffany's (1961)
A literary gigolo (George Peppard) and a high-class prostitute (Audrey Hepburn) are rudderless lovers in a town where lost souls are as common as Cracker Jack rings. Blake Edwards’s adaptation of Truman Capote’s novella (mostly shot on the Paramount lot but with key exteriors in NYC, including the famous Fifth Avenue jewelry store) uses its New York state of mind to infuse a staggeringly depressing story with irresistible charm.—Stephen Garrett
42nd Street (1933)
“You’re going out a youngster—but you’ve got to come back a star!” Has any line captured the zero-to-famous allure of the Great White Way better? This peerless backstage musical also gave us the title song (“where the underworld can meet the elite”) and a delirious Busby Berkeley–choreographed tribute to Broadway’s own boulevard of broken dreams.—David Fear
Serpico (1973)
Can a hero survive NYC’s mean streets? Just barely, as Sidney Lumet’s crime classic—based on the tragic real story of uncorrupted cop Frank Serpico—depicts. Fulsome in his righteous rage, Al Pacino uncorked a signature performance, torn between do-gooder zeal and go-it-alone anxiety. Shooting in every borough except Staten Island, the film is a near-complete portrait of the city at its grimiest.—Joshua Rothkopf
Hannah and Her Sisters (1986)
Sibling rivalry doesn’t begin to describe the subtly complex dynamics within a sororal trio as each one seeks happiness among an array of (sometimes overlapping) men. Woody Allen’s vivid dissection of an Upper West Side family—stopping at sites including the Café Carlyle, Pageant Book Shop and CBGB—uses the city’s grandiose neuroses and urbane patois to convey a singular kinship.—Stephen Garrett
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