Earlier this month Time-Out New York published their The 100 Best Films Set in New York City and despite the unfortunate Vincent Price diss in the Rosemary’s Baby section, we here at Hatched find the list pretty fantastic. C.H.U.D. -yes! After-Hours – of course! Taxi-Driver – naturally! Still, we can’t help but think about those other, perhaps more marginal or forgotten or too popular, New York-based movies that didn’t make the cut. 

How to Murder Your Wife (1965)
Jack Lemmon stars in this bizarre film about a perpetual Manhattan bachelor (Stanley) who finds himself suddenly married to a gorgeous Italian woman who doesn’t speak English. Add in a cartoon caper and a meddling English butler along with an acquittal for a non-murder and you have a funny film about settling down. Only slightly misogynistic. As for New York, Stanley lives in a East 75th Street (at Lexington Ave.) townhouse complete with automatic garage door and rooftop garden. Other NYC sites include Bergdorf Goodman, the Warwick Hotel, and dockyards. Not to mention the movie includes the backdrop of a New York under-construction. Caryn Coleman

Quick Change (1990)
Sometimes living in this city just plain bites; and trying to get out can be even worse. That’s why it’s easy to sympathize with a trio of bank robbers (Bill Murray, Geena Davis and Randy Quaid) who, after a successful heist, are just trying to get out of dodge. En route to JFK, the three wrestle with clueless cabbies, confusing construction detours and a terrifyingly strict bus driver as they helplessly watch their window for escape get smaller and smaller. Murray’s only directorial credit, Quick Change boasts the actor at his most sour–burned out by a city that seems to actively hate him. Kris King

Q – The Winged Serpent (1982)
It’s hard to imagine a movie more awesome than Q – The Winged Serpent. Forget King Kong, imagine what happens with an ancient Mexican serpent/dragon is resurrected by a cult to take over New York City…and then the world! Perhaps most impressive about this film, besides the inclusion of David Carradine and Shaft, is the incredible scenes both inside and out of the Chrysler Building. Showing the access to the sky inside the peak’s holes and the police-force’s outside attack in this obviously low-budget flick make it clear that the delapidation of the Chrysler Building – which houses the monster – is real. The swooping serpent attacking bare-breasted women on New York rooftops and running crowds in the streets makes Q to New York what Godzilla is to Tokyo. Caryn Coleman

Spider-Man (2002)
New York is a superhero kind of town. While Manhattan has served as a stand-in for both Metropolis and Gotham City, this city’s greatest hero will always be Our Friendly Neighborhood Spider-Man. In Sam Raimi’s mega-blockbuster sensation, Spider-Man, we see a hero born and bred of the city. Raimi relishes in kinetic sequences of Spidey swooping down avenues, wriggling and writhing his way through the sky as he swings from one familiar building to the next. With an explosive showdown in Times Square, the Flat Iron Building standing in for The Daily Bugle and a stunning climax on top of the Queensboro Bridge, Raimi barely leaves a Manhattan landmark unexplored. Other superheroes may share the city with the Amazing one, but no one patrols its streets with such style.

The Sentinel (1977)
Director Michael Winner is known for his city-caper films (think The Jokers) really nails New York in this tale of a suicidal model chosen to be the next guard to the entrance to hell. It starts off with a lengthly montage of Allison, our heroine, in model shoots all over the city. Horse-drawn carriage in Central Park. Rooftop commercial shoots. Cabs. Real Estate. Sex. Then it’s apartment hunting in Manhattan and Brooklyn (how all of us here can painfully relate) with Allison fatefully selecting a nice building in Brooklyn overlooking the Mahattan skyline. Perhaps a metaphor for the evils that lurk in the Big Apple – Chris Sarandon as a murderer, adulterer, lawyer is an example – the irony in The Sentinel that the gateway to hell is in New York is not lost on me. Side note: this is also one of the first films for Christopher Walken and Jeff Goldblum. It also stars a young Beverly D’ Angelo (as a masterbating lesbian), Ava Gardner, and the always fantastic Burgess Meredith. Caryn Coleman

Street Trash (1987)
Writer/Producer Roy Frumkes’s Street Trash is a rare time capsule of pre-gentrification Williamsburg and Greenpoint. Shot in the neighborhood back at its low point in the mid-1980’s, this gross-out horror-comedy depicts a Brooklyn that looks more like 1945 Poland than it does the hip haven it is today. There’s a murder at the corner of Norman and Humboldt, a building burns down off of Calyer and most of the action goes on in a collision yard that once dominated the west end of the neighborhood. The first (and, really, only) “melt movie,” Street Trash follows what happens when a batch of caustic malt liquor starts turning the neighborhood’s massive population of drifters, gangsters and PTS-addled veterans into piles of brightly colored goop. Shamelessly decadent, violent and gross, Street Trash is a fascinating and cartoonish look at a down-and-out city with an added bonus of a man flushing himself down the toilet.  Kris King

Cloverfield (2008)
The rolling head of the Statue of Liberty has become a disaster movie staple but imagine seeing it land a few feet away from your apartment in Manhattan. Cloverfield, the handheld shot monster/alien movie set in New York, is a first-person fast-pace race for your life through the city. From the destruction of the Brooklyn Bridge to the journey through the New York subway system, audiences got an insider’s underground tour of the city. Not to mention the harrowing journey up one falling building to access another skyscraper to save the girl. It includes a personal point-of-view on a trip to Coney Island and a final death of young lovers in Central Park. What is it about New York that embodies the end of the world as we know it so completely? Cloverfield’s 9/11 references are apparent: coming together in the face of adversity, importance of love, family, and friendship, police states, outside invasion, and the city’s destruction. Caryn Coleman

Dark Days (2000)
While C.H.U.D. depicts man-eating monsters prowling the city’s sewers, this n0-budget documentary by first-time filmmaker Marc Singer actually delves into the massive labyrinth of tunnels beneath the city, providing an intimate portrait of one of its many robust underground societies. Bolstered by a haunting score from DJ Shadow, Singer shows that many of the city’s tunnel dwellers find comfort living in the dark, using abandoned train tracks as a kind of eerie hide-away from the endless hostility of life on the street. Surprisingly sophisticated, these tunnel towns have electricity, running water and a robust community that actively cares for one-another. As it turns out, Dark Days would become one of the only records of these societies put to film, as, near the end of production, Amtrak rooted everyone out these abandoned tunnels, shutting an entire community off from the place they called home. All wasn’t lost, however, as Singer used the production as a means to find a permanent home for many of his subjects. Kris King

The Incident (1967)
Martin Sheen’s first film The Incident essentially questions the pervasive urban mentality that if it’s not your problem, don’t worry about it. This provocative film is set in New York and almost entirely in one subway car. Out of boredom two hooligans decide to terrorize the handful of people riding the subway late at night. Each with their own issues, they slowly move away from thinking these guys are just your everyday trouble-makers into realizing there is serious terror on board. This rough and dirty film shows passengers wavering, fighting back, and fighting with each other. It reminds us that though we live around a mass of people everyday in New York, we tend to isolate ourselves. This is when community should stand up, not accept the acts of violence as the norm. Importantly, the movie doesn’t end of a positive note. People walk about with the sick feeling of a world gone mad. Caryn Coleman

I Am Legend (2007)
For last man on Earth Robert Neville (Will Smith), an abandoned, rotted version of Manhattan has become his own personal playground. By day, he zooms around town in a supped up Mustang, smacking golf balls off the flight deck of the Intrepid and hunting for game in Times Square. But as the sun dips below the skyline, Neville heads back to his fortified apartment to squirrel away from what’s become of the city’s millions of inhabitants, a population transformed into vampires by a man-made super-plague. Despite bad CG and a cop-out ending scuttling its third act, the bulk of director Francis Lawrence’s adaptation of Richard Matheson’s spooky novella is a haunting look at the decay that New York City would fall into if, suddenly, everyone up and vanished. Loaded with images of sunken streets, flooded tunnels and crumbling buildings, I Am Legend shows how quickly nature would beat down our infrastructure if we weren’t there to constantly fight it back. Kris King