Underrated New Hollywood movies offer a glimpse into a transformative era when conventional studio norms were challenged, leading to films that were often overlooked or misunderstood upon release. Spanning from the late 1950s through the 1980s, these films showcase daring storytelling and unconventional characters, reflecting the restless anxiety and social upheaval of their times. This list highlights ten such movies that defied expectations and still demand attention.
‘Frogs’ (1972): Environmental Horror with a Peculiar Twist
Though not a pure Hollywood production, Frogs stands out for its unusual blend of eco-horror and social critique. Sam Elliott plays Pickett Smith, a wildlife photographer who stumbles upon a wealthy family’s summer gathering only to uncover pollution wreaking havoc on the nearby swamp. Despite aiming to make bullfrogs and other creatures appear threatening—and falling short—the film effectively builds suspense through a series of bizarre animal attacks against the family members. The core message about environmental neglect is blunt but earnest, making Frogs a curious critique wrapped in campy thrills.
‘Electra Glide In Blue’ (1973): An Outsider’s Examination of Police Culture
Directed by James Guercio and featuring cinematography from Conrad Hall, Electra Glide In Blue portrays Officer Wintergreen, played by Robert Blake, as a cop disillusioned with his colleagues yet passionate about his role in law enforcement. The film captures Wintergreen’s ambitions to join homicide work only to be pulled down by internal politics and mediocrity. Its unusual narrative choices and a haunting final shot distinguish it as a rare New Hollywood production that probes the nuances of everyday indignities within a rigid system. Blake’s Golden Globe nomination underscores the film’s quiet impact despite its outsider status.
‘Scarecrow’ (1973): Exploring the Fragile Bonds of Male Friendship
Gene Hackman and Al Pacino star in Scarecrow, a somber exploration of two men adrift—ex-con Max and former sailor Lion—as they navigate an aimless cross-country journey. More a mood piece than a traditional buddy comedy, it captures the recurring New Hollywood theme of doomed male camaraderie without relying on an external antagonist. The film’s title reflects Lion’s advice to Max: to be like a scarecrow, whose purpose is not to instill fear but to amuse, suggesting laughter as a form of survival. Despite critical praise, Scarecrow failed commercially and remains an underappreciated study of human connection amid desolation.
‘The Strange One’ (1957): Early Glimpse of New Hollywood’s Bold Themes
Pre-dating most New Hollywood films, The Strange One is a striking psychological thriller set in a Southern military academy, featuring Ben Gazzara’s portrayal of the cruel cadet Jocko De Paris. Produced by Hollywood heavyweight Sam Spiegel but made with a New York Actors’ Studio cast, the film mixes overt homoerotic undertones with a bitter look at systemic bullying. It reveals how an entire institution enables cruelty, not just a single malicious individual. The presence of such subversive elements well before the New Hollywood peak marks the film as a daring, if obscure, precursor to the later movement.
‘Popeye’ (1980): Robert Altman’s Colorful but Troubled Musical
Known for his influence on New Hollywood, Robert Altman’s adaptation of the classic comic strip Popeye faced numerous production challenges, including a reportedly drug-heavy set. Starring Robin Williams and Shelly Duvall, the film blends chaotic energy with a cartoonish musical style that helps it transcend its unevenness. Though often dismissed, Popeye contains moments of genuine fun and exuberance, reflecting Altman’s flair for ensemble performances and improvisation. Unfortunately, its reputation harmed Altman’s ability to secure future projects, marking it as a symbolic endpoint of the New Hollywood era’s creative peak.
Unsettling Atmosphere in ‘Let’s Scare Jessica to Death’ (1971)
Coming from an independent background but distributed by Paramount, Let’s Scare Jessica to Death defies straightforward horror categorization. The story follows Jessica, a woman recently released from a mental hospital, as she encounters strange occurrences at a rural farmhouse she visits with her husband and friend. The film thrives on ambiguity, blurring the lines between psychological paranoia and supernatural horror, while subtly mourning the fading era of free love. Director John Hancock’s gamble on this haunting, mood-driven narrative paid dividends, helping him transition into more mainstream projects later.
‘A New Leaf’ (1971): Dark Comedy on Love and Greed
Elaine May’s A New Leaf is an idiosyncratic comedy about Henry (Walter Matthau), a financially ruined playboy who plots to marry and murder his naïve fiancée Henrietta (May herself) for her fortune. Known for its budget troubles and studio conflicts—including producer Robert Evans cutting an hour from the originally lengthy cut—the film nevertheless maintains a twisted charm and sharp humor. May’s portrayal of Henrietta’s helplessness transforms the murder plot into a quirky meditation on marriage as both a sweet and punishing life sentence. Despite behind-the-scenes struggles, A New Leaf remains a showcase of May’s distinctive voice.
‘Seconds’ (1966): A Haunting Portrait of Identity and Escapism
John Frankenheimer’s Seconds stars Rock Hudson as Arthur Hamilton, a banker who uses a mysterious agency to drastically change his identity in pursuit of a new life. Its bleak tone and disorienting visuals—crafted by cinematographer James Wong Howe—convey Arthur’s claustrophobic and alienating experience vividly. The film explores the dark side of achieving one’s dreams, revealing that fulfilling fantasies may not bring happiness. Although it struggled critically and commercially, Seconds stands as a striking psychological thriller reflecting mid-20th-century anxieties about self and conformity.
‘Zabriskie Point’ (1970): Ambitious Yet Polarizing Counterculture Epic
Michelangelo Antonioni’s only American studio film, Zabriskie Point, funded by MGM to attract youth audiences, was widely panned and remains controversial. Its story of young lovers Mark and Daria unfolds amid a desolate California desert, culminating in a famously surreal dust orgy sequence. Despite the often-criticized narrative, its visual style captures a grand spectacle of the counterculture’s tensions and desires. Rolling Stone’s David Fricke described it as
“one of the most extraordinary disasters in modern cinematic history,”
yet the film’s haunting finale retains emotional power when experienced fully on a big screen.
‘Head’ (1968): Surreal Deconstruction of Pop Culture and Identity
The Monkees’ singular movie, Head, offers a psychedelic and chaotic narrative that shatters the band’s clean-cut image. Mixing surreal imagery with real violence and absurd humor, the film confronts the manufactured nature of entertainment personas and the emptiness behind fame. Featuring cameos from Jack Nicholson, Frank Zappa, Annette Funicello, and a larger-than-life spoof by Victor Mature, the film merges pop music and avant-garde cinema. Although it alienated fans and slowed the band’s momentum, Head remains a bold, restless critique of media culture wrapped in colorful nonsense.
