Crime Films Part 6 – The Watchable
The sixth tier of the crime ranking. The eighties star vehicles, the police procedurals that found a neighborhood, and the television that outlasted its own format.

The sixth tier of the crime ranking. The eighties star vehicles, the police procedurals that found a neighborhood, and the television that outlasted its own format.

The fifth tier of the crime ranking. Ritchie, Cronenberg, Affleck and the Coens, plus the heist pictures that turned real cases into features.

The fourth tier of the crime ranking. Soderbergh, Scorsese, De Palma and Ferrara, plus the pre-Code gangster pictures and the television that outgrew the form.

The third tier of the crime ranking. Scorsese, Lumet, Fincher and Tarantino, plus the documentary that changed a verdict and the westerns that relocated to cities.

The second tier of the crime ranking. The Coens, Hanson, Fincher and Melville, plus the heist films that taught the form its grammar.

The top twenty crime films. Lang, Huston, Wilder, Kurosawa, Polanski, Coppola and Scorsese, plus the modern entries that earned their place beside them.

The top twenty horror films. Whale, Hitchcock, Tourneur, Demme and Aster, plus the creature pictures and the franchises that got their first entry right.

The bottom of the action ranking. The films that failed at every level at once, and the negative ratings that record how far below zero a picture can go.

The tenth tier of the action ranking. The expensive failures, the franchise entries nobody needed, and the adaptations that had a good design and nothing to put in it.

The ninth tier of the action ranking. Franchise assembly, adaptations that lost the source, and the sequels that demonstrate what the originals were doing.

The eighth tier of the action ranking. Franchise machinery, sequels that undo their predecessors, and the remakes that removed the thing worth keeping.

The seventh tier of the action ranking. Nolan's trilogy conclusion, the Marvel entries that wobble, and the dystopias whose concepts outrank their execution.
The best films work because their craft holds up, and that same eye goes into every book Richard Lowe writes. He has authored 113+ books and ghostwritten 54+ more across fiction, memoir, and nonfiction. If you want a book that respects the reader the way these films respect the viewer, start with a conversation.
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