We don’t get films like A Clockwork Orange anymore. The satirical crime classic from Stanley Kubrick continues to astound audiences today with its relentless depiction of madness and debauchery, led by an unforgettable lead performance by Malcolm McDowell as the charismatic psychopath Alex DeLarge. Its displays of savagery and the extreme response to rehabilitating the ones who commit it is a complex and disturbing element that cements the film’s legacy as a cultural and historical landmark in film history. To put it bluntly: A Clockwork Orange is nothing short of incredible, and serves as a consistent reminder for the power of cinematic storytelling.

The following films pay tribute and expand upon, in various ways, Kubrick’s commentary on senseless violence and its connection with their world’s lack of empathy, and should be seen to further understand why nothing is more dangerous than the path to the old ultra-violence. A Clockwork Orange is a film that’s often imitated, but never truly replicated; but these films come pretty damn close to doing that.

RELATED: Every Stanley Kubrick Movie, Ranked

Natural Born Killers (1994)

Natural Born Killers

While Natural Born Killers leans more towards a Bonnie and Clyde/True Romance vibe given its romanticism, its fascination with violence and its Sensationalism within the media echoes the obsession shown in both Kubrick’s film and the Anthony Burgess novel it's based on. Mickey Knox (Woody Harrelson) and Mallory Wilson (Juliette Lewis) found themselves in each other under horrible circumstances, and their society in some ways are to blame for the heinous killings they commit. This modern crime landmark from Oliver Stone is stylish and shocking, with a pair of performances that rival McDowell’s madness.

Fight Club (1999)

Tyler Durdin and the Narrator use the subway in 'Fight Club'.
Image via 20th Century Fox

Technically, the first rule about this film is to not talk about it. For the sake of this article, however, that isn’t possible. When looking back at the legacy of Fight Club, it’s funny how it shares both the best and worst qualities that audiences share with films like Clockwork Orange. While the cult status of the David Fincher masterpiece is nothing to scoff at, the controversies surrounding it have continued to spark discourse regarding its themes on anti-establishment and mental health. While Tyler Durden (Brad Pitt) isn’t *completely* despicable compared to Alex, he isn’t a character you’re supposed to like, either. The co-lead opposite Edward Norton is a walking time-bomb that wants to create chaos for the sake of chaos, and while he raises some valid arguments about consumerism and control, they don't equate to the wild (and hypocritical) means he takes to combat against his society. Fight Club is a great film that, like Clockwork, continues to be misinterpreted for its themes and messaging.

Robocop (1987)

Speaking of films with misconstrued legacies, it’s Robocop time! The film by the legendary master of satire Paul Verhoeven is a bloody good watch, yet has more depth to it than one would initially expect (it’s a Verhoeven flick, so that’s not really a surprise). Aside from the emphasis of outlandish violence throughout the film, the personal struggle within Alex Murphy (Peter Weller) struggling with what’s left of his humanity is what makes this film still powerful today. While the concept of a Robocop is just borderline cool, the center of it being a man who’s transformed by corporations as a mechanical advertisement against crime makes for a tragic character with themes that feel less like science fiction in today’s world. If you’re also looking for a movie that has an all-timer of a villain in Kurtwood Smith’s Boddicker, this certainly helps with that.

The House that Jack Built (2018)

the-house-that-jack-built-social-feature
Image via IFC Films

It would feel wrong to make a list of films like Clockwork Orange and not include one by Lars von Trier, and his latest work is no exception whatsoever. The House that Jack Built is in some parts a psycho-horror, some parts a *very* dark comedy, and also a celebration for Trier himself. The film follows Matt Dillon as the titular Jack, who commits numerous murders throughout the course of 12 years and attempts to explain his reasoning for it via a series of flashbacks. This takes a more self-indulgent approach to violence and the insane arguments behind it (it’s Lars von Trier. Also not a surprise.), yet still holds enough of the cold inhumanity that Kubrick imbued on Alex and his gang of Droogs. If this is your first time with a von Trier film, this may not be the best place to start, but when it comes to crime films evoking the spirit of Kubrick’s masterpiece, The House that Jack Built makes for a worthy companion piece.

Nightcrawler (2014)

While the ethics in A Clockwork Orange are clearly displayed to be flawed, the ones in Dan Gilroy’s neo-noir standout Nightcrawler are much more blurred. Jake Gyllenhaal stars as "Lou" Bloom, a journalist who’s obsessed with capturing violent events late into the night, so he can sell them to local news stations. While we’ve become accustomed to the seemingly endless amounts of news coverage on violent moments, the film challenges those beliefs by creating a commentary on capitalism and consumer demand behind it; as if the filmmakers are telling us that the people who wish to reject viewing these vicious acts are also the ones who can’t look away from it. Nightcrawler is a memorable film with a profound look on our fascinations with real-life violence, and should be seen by anyone who loves A Clockwork Orange.

CLIMAX (2018)

Climax-A24
Image Via A24

As it's been said: you can’t talk about Kubrick without talking about von Trier, and you can’t talk about either of them without talking about Gaspar Noé. While the premise of CLIMAX is fairly simple (a bunch of sexy French dancers go nuts from drinking spiked sangria) its presentation and characters are nothing but. CLIMAX talks about a lot of things, but at the core of it is a surreal, electronic display of humans rejecting their empathy in favor of pure barbarism. All that and a great soundtrack, too.

Kill List (2011)

There isn’t much to say about Kill List without spoiling what it’s really about, but that doesn’t mean the breakout hit by Ben Wheatley isn’t worth checking out. When a soldier (Neil Maskell) returns to his home from war, he meets up with an old colleague to work as contract killers. The film is a gritty downward spiral that only gets more disturbing as it goes on. Compared to Clockwork, Kill List plays out like the more serious and cynical version of a man who is completely desensitized by all sorts of violence.

Perfect Blue (1997)

Aside from being a total package of a horror thriller, Perfect Blue belongs in this list because of director Satoshi Kon’s flare for blurring the line for what is reality and what isn’t. When a Japanese pop singer retires from her group to pursue acting, she begins to be followed by a vicious stalker as gruesome murders occur around her. Aside from being a brutal watch and exploring the themes of cerebral manipulation, the film also shares Kubrick’s sensibilities to shock the audience and consistently keep them guessing what will happen next.

Trainspotting (1996)

Ewan McGregor as Mark/Narrator in Trainspotting
Image via PolyGram Filmed Entertainment

The film that put Danny Boyle on the map, Trainspotting is an almost dazzling display of a filthy Scottish underbelly. The film is less a crime film than it is a black comedy, but its influences on poverty, youthful rebellion, and drug addiction is fairly apparent. And with a stellar ensemble featuring the likes of Ewan McGregor, Jonny Lee Miller, and Robert Carlyle, it makes for a dirty, freeform, yet unforgettable visual experience.

Get Out (2017)

Daniel Kaluuya Get Out

While there are many things between Clockwork Orange and Jordan Peele’s seminal Get Out to make comparisons from, the obvious one to point out is in the film’s themes on mental control and hypnotism. Much like how the doctors believe they can reshape Alex’s mind to rid his criminal urges, the Armitage family believe that their life expectancy can be extended through transplanting their brains onto other people’s bodies. This disregard for humanity is made more apparent when you consider the comments they make to Chris (Daniel Kaluuya) about black men, as their perceived kindness is actually a veil for their fascination with them as subjects to experiment on. It should be obvious by now that Get Out is a multi-layered modern masterpiece, and when compared to another cinematic landmark in Kubrick’s epic, that sentiment is only bolstered.