Fantastic Neo-Noir Films from the 90s You May Have Overlooked

      Casey Chong showcases a collection of overlooked neo-noir films from the 1990s…

      The 1990s era featured a range of significant neo-noirs, from Warren Beatty’s striking, comic strip-inspired Dick Tracy (1990) to Abel Ferrara’s stark Bad Lieutenant (1992) and, of course, the Academy Award-winning L.A. Confidential (1997). However, the decade also produced several other neo-noirs that have been disregarded or went largely unnoticed upon their initial releases. Thus, we have curated a list of eight underrated neo-noir films from the 1990s that merit a viewing…

      Sand Trap (1997)

      This obscure neo-noir thriller marks the directorial debut of Harris Done, who co-wrote the screenplay with Jerry Rapp. The storyline is reminiscent of Roy Ward Baker's 1953 thriller Inferno, focusing on a protagonist abandoned to die in the desert by his wife and her lover. Produced on a modest budget, the film's quality resembles that of a higher-budget production, aided by Done's experience as a cinematographer, which allows him to effectively convey the oppressive heat of the Mojave Desert setting.

      Despite featuring lesser-known actors, the three leads—David John James, Elizabeth Morehead, and Brad Koepenick—deliver impressive performances, with Morehead standing out as the conniving and heartless femme fatale wife of James’s meek businessman character, who is determined to see him dead. The film’s compelling nature lies in Done's blend of various genres—sleazy erotic-thriller clichés, dark comedy, and surreal humor—all framed within the neo-noir context, producing an entertaining experience in its brisk 100-minute run time.

      Kiss or Kill (1997)

      This largely forgotten Australian neo-noir stars a then-emerging Frances O’Connor, who later appeared in films such as Mansfield Park and A.I. Artificial Intelligence. Writer-director Bill Bennett presents the narrative of outlaw lovers on the run (O’Connor and Matt Day) using a documentary style infused with improvisation. This approach allows for a spontaneous directing style, granting actors like O’Connor and Day the freedom to ad-lib much of their dialogue. The run-and-gun filmmaking technique, characterized by sharp jump cuts and the absence of a musical score, reflects the chaotic existence of O’Connor and Day’s fugitive characters after a failed scam.

      Kiss or Kill also follows a road movie structure set in the Australian Outback, where outlaw lovers encounter a variety of eccentric minor characters along their journey. O’Connor and Day are the film's emotional core, showcasing a dynamic love-hate relationship, while Chris Haywood and Andrew S. Gilbert contribute with their dry comedic performances as police detectives tracking down the lovers.

      Phoenix (1998)

      Following the big-budget misstep of Judge Dredd starring Sylvester Stallone, Danny Cannon shifted back to smaller-scale filmmaking similar to his 1993 debut, The Young Americans. His post-Judge Dredd project is a neo-noir crime drama featuring Ray Liotta in his element as a tough, intense character—an assertive corrupt cop who is also a compulsive gambler burdened with debt.

      Liotta is supported by an impressive cast, including Anthony LaPaglia as a fellow corrupt officer and Tom Noonan as a cunning crime lord. While Phoenix doesn’t redefine the genre, as it retains themes of crime, murder, betrayal, and corruption, Cannon’s confident direction and clever dialogue laced with Tarantino-style pop culture references enhance the film (the critique of the King Kong movie stands out).

      After Dark, My Sweet (1990)

      Once a reputable filmmaker, James Foley transitioned to less impactful projects, but in the early '90s, he created After Dark, My Sweet—a slow-burning neo-noir based on Jim Thompson’s 1955 novel. Regrettably, the film struggled at the box office, earning just $2.7 million against a $6 million budget.

      This largely underrated film explores unsympathetic, hollow characters: Jason Patric’s mentally unstable ex-boxer Collie, Rachel Ward’s alcoholic Fay, and Bruce Dern’s scheming Uncle Bud, who desperately try to change their fates (the story also involves a kidnapping). The visual alienation throughout effectively portrays the loneliness of the three leads, culminating in a bleak finale reflective of the harsh California desert.

      A Kiss Before Dying (1991)

      This remake of the 1956 film, based on Ira Levin’s novel, A Kiss Before Dying begins with a shocking suicide of a blonde millionaire’s (Max von Sydow) daughter, played by Sean Young. Writer-director James Dearden’s fourth feature does not shy away from the graphic nature of this character’s death, showcasing a maximalist visual style.

      Young also plays the unsuspecting twin sister who becomes romantically involved