8 Underrated Crime Movies You Probably Haven't Seen Before

Image via RKO Radio Pictures Published Oct 23, 2026, 10:22 PM EDT Jeremy has more than 2800 published articles on Collider to his name, and has been writing for the site since February 2022. He's an omnivore when it comes to his movie-watching diet, so will gladly watch and write about almost anything, from old Godzilla films to gangster flicks to samurai movies to classic musicals to the French New Wave to the MCU... well, maybe not the Disney+ shows. His favorite directors include Martin Scorsese, Sergio Leone, Akira Kurosawa, Quentin Tarantino, Werner Herzog, John Woo, Bob Fosse, Fritz Lang, Guillermo del Toro, and Yoji Yamada. He's also very proud of the fact that he's seen every single Nicolas Cage movie released before 2022, even though doing so often felt like a tremendous waste of time. He's plagued by the question of whether or not The Room is genuinely terrible or some kind of accidental masterpiece, and has been for more than 12 years (and a similar number of viewings). When he's not writing lists - and the occasional feature article - for Collider, he also likes to upload film reviews to his Letterboxd profile (username: Jeremy Urquhart) and Instagram account. He has achieved his 2025 goal of reading all 13,467 novels written by Stephen King, and plans to spend the next year or two getting through the author's 82,756 short stories and 105,433 novellas. Sign in to your Collider account The crime genre has always been and remains one of the most exciting and varied in the medium of film. Some of the most beloved films of all time fall within the crime genre, like The Godfather Part 1 and 2, and many of Martin Scorsese's gangster classics. Some crime films are thrilling and fun, whilst others are soul-crushing and heavily emotional affairs that explore the dark side of human nature and the way greed can corrupt a person's soul. In the interest of highlighting the versatility of the genre, here are eight great crime films that aren't quite as well-known as those from directors like Francis Ford Coppola or Quentin Tarantino, for instance. Each film listed here is compelling and memorable in its own way, and is worth tracking down for fans of movies that deal with the always fascinating, often dangerous theme of crime. 8 'Pixote' (1980) Pixote is a Brazilian crime drama that's divided into two halves. One shows the life of several boys at a viciously cruel youth detention center, and the other half shows their lives on the run, as they break out of the center and turn to a life of petty crime as a way to survive in a world that's just as uncaring and dangerous as the place they escaped. Pixote is a tragic and despairing film, and it depicts the existence of its characters in a way that's brutally honest and confronting. It speaks to real-world issues of injustice and poverty, and viewing it makes for a heavy experience, but one that's sure to stick with anyone who gives it a shot. 7 'Miracles' (1989) Jackie Chan's directed and starred in a host of great movies, both during his time in the Hong Kong film industry and within Hollywood. Miracles stands as one of his most unexpected and underrated, as it's a gangster romantic-comedy with a few great action scenes spread throughout, because you can't have a movie starring (arguably) the best action star of all time without action. While it riffs on classic gangster movies and has a plot that involves Chan's character getting mixed up with a violent gang, it also owes a good deal to the screwball comedy, a sub-genre popular in Hollywood during the 1930s and 1940s. It makes for a unique watch, and as director and lead actor, Jackie Chan handles the conflicting genres pretty well, ensuring Miracles ends up being a very entertaining watch. 6 'All Through the Night' (1942) Hollywood legend Humphrey Bogart was in so many good movies throughout the 1940s that it's inevitable some will get buried by the others. All Through the Night is one such underrated Bogart flick. Made right in the middle of WW2, it's a surprisingly light-hearted crime film about a gang of gamblers getting wrapped up in the conflict, in turn becoming something of a war-thriller on top of being a crime-comedy. It's interesting to watch a movie like this from a historical perspective, as it's clear now that there were some propagandist intentions behind the story. At least it still feels fun that any on-the-nose elements can be mostly forgiven, and overall, it makes for a very fast-paced, unpredictable, genre-bending viewing experience. 5 'Outlaw: Gangster VIP' (1968) Image via Nikkatsu A fast and ferocious gangster film from Japan, Outlaw: Gangster VIP is a crime-thriller that follows a young man engaged in the yakuza lifestyle as he deals with the consequences that befall him as a result of his violent lifestyle. It's a pretty relentless viewing experience, and it packs a whole heap of violence, betrayal, conflict, and drama into its brief 94-minute runtime. It spawned several sequels, and was a modest hit in Japan, but remains fairly under-seen outside its country of origin. It deserves more recognition for sure, and stands as one of the best and most accessible yakuza films ever made. Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best PictureIs Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one. 🪜Parasite 🌀Everything Everywhere ☢️Oppenheimer 🐦Birdman 🪙No Country for Old Men FIND YOUR FILM → 01 What kind of film experience do you actually want? The best movies don't just entertain — they leave something behind. ASomething that pulls the rug out — that makes me think I'm watching one kind of film and then reveals I'm watching another entirely. BSomething overwhelming — funny, sad, absurd, and genuinely moving, all at once. CSomething grand and weighty — a film that makes me feel the full scale of what I'm watching. DSomething formally daring — a film that pushes what cinema can even do. ESomething lean and relentless — pure tension with no wasted frame. NEXT QUESTION → 02 Which idea grabs you most in a film? Great films are driven by a central obsession. What's yours? AClass, inequality, and what people are willing to do when desperation meets opportunity. BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart. CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back. DEgo, legacy, and the terror of becoming irrelevant while you're still alive to watch it happen. EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does. NEXT QUESTION → 03 How do you like your story told? Form is content. The way a story is shaped changes what it means. AGenre-twisting — I want it to start in one lane and migrate into something completely different. BMaximalist and genre-blending — comedy, action, drama, sci-fi, all in one ride. CEpic and non-linear — cutting between timelines, building a mosaic of cause and consequence. DA single unbroken flow — I want to feel like I'm living it in real time, no cuts to safety. ESpare and precise — every scene doing exactly what it needs to do and nothing more. NEXT QUESTION → 04 What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you? AA system — invisible, structural, and almost impossible to fight because it has no single face. BThe self — the ways we sabotage, abandon, and fail the people we love most. CHistory — the unstoppable momentum of events that no single person can stop or redirect. DThe industry — the machinery of culture that chews up talent and spits out irrelevance. EPure, implacable evil — a force so certain of itself it becomes almost philosophical. NEXT QUESTION → 05 What do you want from a film's ending? The final note is the one that lingers. What do you want it to sound like? AShock and inevitability — a conclusion that recontextualises everything that came before it. BEarned emotion — I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess. CDevastation and grandeur — an ending that makes me sit in silence for a few minutes after. DAmbiguity — something that leaves enough open that I'm still thinking about it days later. EBleakness — an honest refusal to pretend the world is tidier than it actually is. NEXT QUESTION → 06 Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what's even possible. AA gleaming modern city with a hidden underside — beauty masking rot, wealth masking desperation. BA collapsing suburban life that opens onto something infinite — the multiverse of a single ordinary person. CThe corridors of power and science at a world-historical turning point — where decisions echo for decades. DThe grimy, alive chaos of New York and Hollywood — fame as both destination and trap. EVast, indifferent landscape — desert and highway where violence arrives without warning or reason. NEXT QUESTION → 07 What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable. AProduction design and mise-en-scène — every frame composed to carry meaning beneath the surface. BEditing and tonal control — the ability to move between registers without losing the audience. CScore and sound design — music that becomes inseparable from the dread and awe of what you're watching. DCinematography as performance — the camera not recording events but participating in them. ESilence and restraint — what's left unsaid and unshown doing more work than any dialogue could. NEXT QUESTION → 08 What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you. ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure. BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary. CA brilliant, tortured figure whose gifts and flaws are inseparable from each other. DA self-destructive artist whose ego is both their superpower and their undoing. EA quiet, principled person trying to make sense of a world that has stopped making sense. NEXT QUESTION → 09 How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately. AI love a slow build when I know the payoff is going to be seismic — patience for a devastating reveal. BGive me relentless momentum — I want to feel breathless and emotionally spent by the end. CEpic runtime doesn't scare me — if the material demands three hours, give me three hours. DI want it to feel propulsive even when nothing is technically happening — restless energy throughout. EDeliberate and unhurried — I want dread to accumulate in the spaces between the action. NEXT QUESTION → 10 What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want? AUnsettled — like I've just seen something I can't fully explain but can't stop thinking about. BMoved and energised — like the film reminded me what actually matters and gave me something to hold onto. CHumbled — like I've been in the presence of something genuinely important and overwhelming. DExhilarated — like I've just seen cinema doing something it's never quite done before. EHaunted — like a cold, quiet dread that stays with me for days. REVEAL MY FILM → The Academy Has Decided Your Perfect Film Is…Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works. ParasiteYou are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho's Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it's ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image. Everything Everywhere All at OnceYou want it all — and this film gives you all of it. The Daniels' Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn't want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it's about. OppenheimerYou are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan's Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort. BirdmanYou are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it's about. Alejandro González Iñárritu's Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor's ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn't be possible. Michael Keaton's performance and Emmanuel Lubezki's restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all. No Country for Old MenYou are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers' No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be. ↻ RETAKE THE QUIZ 4 'Armored Car Robbery' (1950) Image via RKO Radio Pictures A super lean, down-and-dirty heist movie that stands at only 67 minutes long, presumably so it could be shown back-to-back with another, similarly short film as a double feature at the time of its release. The title promises an armored car robbery, and that's what ends up happening. A group of criminals thinks they're about to execute the perfect robbery (like always), but the plan unravels and derails, and the film turns into a fight for survival, as the law (and maybe karma itself) catches up with them all. It's satisfying to see a movie like this waste no time in delivering crime-related thrills. Is it deep? And are the characters particularly memorable? No, to both questions, but that doesn't matter. It gives you an armored car robbery and its fallout. What more do you need? 3 'Murder on a Sunday Morning' (2001) In recent years, true-crime documentaries have become longer and longer. After the success of Making A Murderer, it felt like every true-crime story began getting told in a miniseries format. Sometimes that approach works, but sometimes it leads to a bloated runtime and endless repetition, as the filmmakers struggle to get their story to maintain momentum for upwards of six hours. That's why a film like Murder on a Sunday Morning is so satisfying. In under two hours, it outlines a single crime and focuses on its ensuing trial, perfectly pacing itself in the process and having just enough time to properly develop the people it follows. It gives a great insight into how lawyers function, and how easily the justice system can slip up and charge a person who's actually innocent. It's a suspenseful and absorbing watch, and arguably one of the best courtroom films of all time, period. 2 'Going in Style' (1979) Image via Warner Bros. Forget the Zach Braff-directed remake. Sure, Michael Caine, Alan Arkin, and Morgan Freeman are all entertaining actors, but that 2017 film has nothing on the original. 1979's Going in Style tells the same story of three bored old men who decide to try robbing a bank, but does so far more effectively. The remake is very gentle and tame, but the original Going in Style is as much an emotionally heavy film about the struggles of growing old as it is a quirky crime-comedy. The shift from comedy to drama happens suddenly but seamlessly, and is sure to surprise just about any viewer. It's a remarkably simple but surprisingly sad film in the end, and a brilliantly distinct movie within the heist sub-genre. 1 'Battles Without Honor and Humanity' (1973) Image via Toei The original Battles Without Honor and Humanity is perhaps the classic yakuza film, and ended up spawning a franchise, with eleven films total in the series. It explores the lives of an enormous number of characters throughout, all in various crime families, with all families engaged in a huge, sprawling yakuza war in Hiroshima. It's hard to follow and chaotic, but that's by design. Betrayals in the yakuza world are common, and violence is shown to break out at any place, at almost any time. The film captures a violent, ruthless, messy world, and it's that experience that sticks with viewers, rather than the exact mechanics of the complex narrative itself. As long as you go in accepting you're probably going to be overwhelmed, jerked around, disturbed, and surprised at many points throughout, Battles Without Honor and Humanity is great stuff. Battles Without Honor and Humanity Release Date January 13, 1973 Runtime 99 minutes Cast Bunta Sugawara Shozo Hirono Hiroki Matsukata Tetsuya Sakai Kunie Tanaka Masakichi Makihara Eiko Nakamura Suzue Kunihiro