21 Movies Like Full Metal Jacket (1987)

Staff & contributors

Chasing the feel of watching Full Metal Jacket ? Here are the movies we recommend you watch after Full Metal Jacket (1987).

In 2008, legendary and controversial director Darren Aronofsky delivered yet another unforgettable allegory, starring Mickey Rourke as Randy "The Ram" Robinson, an aging professional wrestler long past his prime, who is struggling to retain a sense of identity, purpose, and dignity later in life. Rourke, who worked as a professional boxer in his 90s and, like his protagonist, almost hung his hat at the time the movie was shot, delivers a once-in-a-lifetime performance that rightly earned him a Golden Globe. Everybody talked about this movie when it came out! Marisa Tomei's performance, who plays the mid-40s stripper The Ram pursues a serious relationship with, was also deemed iconic by some critics. Shot on 16mm film, The Wrestler's cinematography, like its acting, feels incredibly raw, intimate, and realistic. It is essentially about bouncing back, making amends, and growing old and features acting performances that will be remembered for a long time. One for the books!
Living in the Material World tells the story of one of the most influential musicians of recent history, the “quiet Beatle” George Harrison. It is, in turn, told through the eyes of one of the most prominent filmmakers of recent history, the always amazing Martin Scorsese. Famous for his feature films, Scorsese has been a champion of documentary films and an avid maker of them. Drawing on archive footage, home movies, and many newly recorded interviews, including with Paul and Ringo, Eric Clapton, Phil Spector, and Terry Gilliam, he tells the complete story – and this is to be taken quite literally – of an indeed quiet, torn, and searching human being as well as an immensely talented, inspiring, and spiritual artist. This heart-felt and intimate 3.5-hour documentary is an awe-inspiring exploration of Harrison's time with The Beatles as well as his subsequent solo career as a musician and as a philanthropist. In case you had your mind made up on who's your favorite Beatle, Scorsese might make you rethink.
The Sanskrit word Samsara refers to the wheel of life and roughly translates to “continuous flow”. And, indeed, Samsara takes us on an entrancing journey, chronicling the never-ending cycle of birth, life, death, and re-birth that life, big and small, goes through—at least according to the religions that were born on the Indian continent. Shot on 70mm film and utilizing computerized camera movements as well as time-lapse photography, this film by American director Ron Fricke delivers absolutely breath-taking visuals. Whether it's awe-inspiring vastness or the close-up of a human face, its narration-less narrative integrates every aspect of human and natural life regardless of scale or location. The scope of this effort is truly awe-inspiring and the clarity of it has to be seen to be believed. An unusual and magical film!
From Korean director Park Chan-wook, who also brought you the far quieter The Handmaiden, comes a movie that is positively terrifying. Its premise alone is enough for any sentient human being to shudder. On his daughter's birthday, the good-for-nothing Oh Dae-su (played by Choic Min-sik) gets drunk and is arrested by the police. A friend eventually bails him out and, while he is making a phone call, Oh Dae-su disappears. Not knowing why, he is held in the same room for 15 years for no apparent reason. Until, one day, he is released. That's all that can be revealed about this winner of the Grand Jury Prize at Cannes in 2004 without giving away too much. All we can add here is the way we recommend Oldboy to people admitting to not having seen it yet: “Watch Oldboy. You're welcome. We're sorry.” A crazy, twisted film that goes to extremes. A cult classic and a statement.
Whilst a classic in some circles, Festen is many things, but it's definitely not mainstream entertainment. It was shot by Danish director, Thomas Vinterberg, who founded the Dogme 95 movement together with Lars von Trier in 1995, which sought to put the auteur director back at the heart of filmmaking, as opposed to the power of the studios or special effects. This was the first movie to come out from that group. You thought your family was messed up? Think again. This macabre, Poe-esque, gut-wrenching tale of debauchery will leave you feeling confused and slightly nauseous. This effect is exacerbated by Winterberg's directing style and the crazy camerawork of Anthony Dod Mantle. With a highly volatile tone and a great cast, the effect Festen has on you is not easily shaken off.

This masterpiece from Norwegian director Joachim Trier is a clear-eyed movie that takes place in one day in the life of a 34-year-old. Anders, a recovering drug addict, gets to leave his rehab facility for the first time to take a job interview. He visits friends, tries to meet his ex, and goes to the interview. With every interaction, you get to know him more and understand that what he's going through is shared with everyone he meets. At 34, Anders feels it is too late to turn his life around, and so do his friends. He just happens to be a drug addict.

Stand By Me follows four young friends as they journey around their small town searching for a rumored dead body. On the surface, it moves like an adventure story. The boys narrowly avoid guard dogs and leeches, speeding trains and tough teen gangs. But along the way, they also learn much about each other, in particular about the stark reality of their home lives and the growing depths of their inner struggles, so that beneath all the small-time thrill is a beating coming-of-age story. 

Based on a novella by horror master Stephen King, Stand By Me is terrifying in its ability to evoke the unique thorniness of passing through the gates of adulthood, but also warm and comforting in its reminder of the universality of this feeling.

At the risk of being cliché, I'm going to state that only the French could have made a movie about racial issues and the troubles of youngsters in the suburbs and still make it elegant. I've tried looking for other adjectives, but I couldn't find one that better describes those long takes shot in a moody black and white. But despite the elegance of the footage, the power of the narrative and the acting makes the violence and hate realistic as hell, dragging you into the story and empathizing with the characters until you want to raise your arm and fight for your rights. Aside from this unusual combination of fine art and explicit violence, the most shocking thing about La Haine is how much the issues it addresses still make sense right now, even though the movie was released 20 years ago.

A marvelous combination of perfect casting and a sizzling script. William Hurt, Albert Brooks, and Holly Hunter are such natural talents they could make reading a dictionary watchable, but seeing them weave through James L Brooks punchy dialogue is a delight to behold. The three form the foundation of this drama that is as much about journalistic ambition as it is about love.

Hunter and Brooks are principled workaholics at a news station juggling a platonic friendship that seems destined for more but lacks a driving spark. Enter Hurt, a charming though self-admittedly stupid news anchor, who Hunter at once resents and yet can’t help falling for. What seems like a ready-built rom-com plot, however, churns into something else entirely. It’s a delicious film crackling with wit and character and is as funny as it is astute. 

Widely regarded as one of the finest concert movies of all time, Stop Making Sense depicts musical innovators The Talking Heads at the height of their game. Directed by Jonathan Demme (The Silence of the Lambs, Philadelphia), and starring the eccentric and energetic David Byrne, the show is a marvel of perfectly executed choreography and mid-eighties musicality. Halfway through the set, one might think they've heard all of the hits, but they keep coming and coming. Before Beyonce was Queen, before Bieber was conceived, this film shows what is capable with a camera, a guitar, and some genius.

An intriguing, funny and rather bizarre movie which serves as a fantastic introduction to 'new-wave' German cinema. Featuring a cast of young talented actors and excellent direction, this movie takes place around the time the Berlin wall fell and East and West Berlin were still united. Christiane, a devout socialist activist in East Berlin suffers an accident which leaves her in a coma, during which time the Berlin wall comes down and Western capitalism encroaches on her beloved East Berlin. Fearing that she may relapse into a coma after waking up, her doctors warn that she must remain calm and not endure any shocks. Despite the somewhat contrived premise, the film really takes off from this point as her son Alex and his friend aim to hide this fact from her, by faking news reports on the television, coming up with excuses for a giant Coca Cola banner and a whole host of other amusing exploits to prevent her from knowing. While categorised as a comedy, it is also a moving portrayal of a loving family enduring great, historic change.

Eat Drink Man Woman takes place in Taipei, Taiwan in the mid-1990s. It tells the story of an aging father and his three daughters, all of whom are navigating different phases of adulthood while embracing new relationships. The family uses cooking and eating together as a way to communicate their love.

Food as a love language wasn’t a new concept in 1994, when the film was released, however it is impeccably explored in Eat Drink Man Woman. 

This Netflix production is based on a case that rocked public opinion in Italy. Stefano Cucchi was arrested for a minor drug charge and died five days later from police brutality. The movie takes its time to expose what Cucchi went through, which might lead some viewers to find On My Skin slow, and rightfully so. Thinking about the issues at hand here, it’s easy to understand why the director made that choice. In fact, Italians’ complex relationship with the Carabinieri, a division of the Italian army that carries out domestic policing, is delicate to explain and requires meticulous unveiling. Nominated to nine David di Donatello Awards (the equivalent of the Academy Awards in Italy), of which it won three.

This is an inexplicably and philosophically dark comedy.

Its protagonist, Larry, is a lackluster professor at a dull university. Then his life starts to unravel: his wife decides to leave him for one of his more successful colleagues; his unemployed brother moves in to stay on his couch.

So Larry ventures on a quest for meaning and clarity within his Jewish community.

All Cohen Brothers fans will appreciate the movie's aesthetics and comedic strength. The protagonist’s struggle will resonate with anyone who has had a religious upbringing: guilt is a big theme here.

I felt like I had to rewatch it to understand it. But I also enjoyed that weird sense of not understanding everything that's going on. Much like life itself.

The film rightfully earned itself two nominations for the Oscars, including Best Picture.

A young Steve Buscemi leads this wry farce about a calamitous film set where nothing goes right. The sardonic script skewers the ins and outs of low budget film production and the various personalities on set from belligerent directors, pretentious cinematographers, and egotistic actors. 

A playful three-act structure and trips into dream sequences keep things light, while a strong supporting cast, including a cheeky appearance by Peter Dinklage and the fantastic Catherine Keener, gives the film the backbone it needs.