1. Blade Runner 4/4 Identity; human nature
Dystopian sci-fi with noir highlights, with strange gender inversions. How will critics, etc. deal with this film in another forty years when its vision of the future is past? Quite vulnerable to reinterpretive rejection. A highly stylish oddity that holds its own for its outrageousness, which is still in vogue.
2. Chinatown 4/4 Corruption, personal and social; power. Absolutely first-rate film.
Retro-neo, old school enough to be graded via the original noir-o-meter. A classic when it was made, now a classic-in-amber.
3. L.A. Confidential 3.5/4 Corruption. Not as convincing as Chinatown.
Retro noir, a film that is too self-referential to have much depth. A good example of what is meant by the concept "overdetermined."
4. The Long Goodbye 4/4 Dissolution of moral codes; betrayal
A parody that miraculously manages to be heartfelt, smirky and dangerous all at the same time. Arguably captures the creeoing ennui of the 70s better than any other film made in the time frame. It and CHINATOWN are clearly in the Top 5.
5. The Border 3/4 Corruption; a good film, but not among the best
Nicholson going through the motions.
6. The Conversation 4/4 Surveillance and privacy. Not yet re-watched.
Paranoia front and center. More controlled, less epic and overwrought than later Coppola. Hackman keeps it on track. In the Top 20.
7. Dark City 2.5/4 Dystopia. I would not include this in neo-noir.
Highly regarded for production design, which might make it "transcend" noir. But it's just another sub-genre within dystopia.
8. The Limey 4/4 Treatment of time; evaluation of life; corrupt Hollywood
Third act problems. Soderbergh doesn't seem to be able to fully follow through with films that have an overt connection to noir--same problem with KAFKA and THE GOOD GERMAN. Initial setup is quite good, but loses focus.
9. No Country for Old Men 4/4 Frustrated aspirations. Superior film.
Another "overdetermined" effort whose character structures seem to devolve into a shouting match between interior monologues that Cormac McCarthy tried to externalize. Bardem and Michelle Williams nearly save it anyway.
10. Point Blank 4/4 Identity; memory; organization men. Could top a list because of its early appearance A prescient post-noir art film that remains unique--a key transition, but a transition to a set of films that never quite materialized in the same way. But definitely a Top Five.
11. Reservoir Dogs Not a noir
Unlike you, I think Tarantino's work is mostly bloated, with the exception of this and JACKIE BROWN. It's a heist film: is that a separate sub-genre from neo-noir?
12. Se7en to be watched
More definitions of "overdetermined," this one from David Ansen in Newsweek writing about this film: "A style so chic, studied and murky that it resembles a cross between a Nike commercial and a bad Polish art film."
13. The Silence of the Lambs 3.2/4 Rejection of society; social acceptance
Serial killer noir, like manic depression (so sez Jimi H.) is a frustrating mess.
14. Taxi Driver to be re-watched
Deserves a lengthier discussion, will wait for your re-watch.
15. True Romance Not noir
Tarantino before he became grandiosely profane...merely profane. He probably wishes he'd directed it, but I doubt it would've helped.
16. Blood Simple to be re-watched
Highly lauded, not quite as great as its rep, but the Coens knew who to cast in their early days--particularly M. Emmet Walsh, who keeps this on its off-the-rails trajectory,
17. Fight Club re-watch
Also need to rewatch.
18. The Friends of Eddie Coyle 3.5/4 Betrayal Re-watch
Arguably the best film in Mitchum's 70s resume, but he's more turned in here, lacking the perfectly polished roughness that he captured so well in the Chandler remakes, which are inferior films but exude a comforting nostalgia that avoids parody.
19. Gattaca Exclude
What was he thinking?
20. The Grifters Re-watch, low expectations
Cusack is too wet behind the ears to play a Thompson anti-hero, but the cast tries hard--sometimes too hard.
21. Jackie Brown
While QT is never subtle, his appropriation of Elmore Leonard is a big success thanks to Grier and Forster perfectly capturing their "love that dare not speak its name" variant in the midst of what is the template for the post-neo tonality--operatic self-absorption embodied in characters who vie for linguistic dominance, resorting to violence when they realize they've been out-talked. Clearly, I like it more than you did!
22. The Killing of a Chinese Bookie 4/4 Great film. Moral choice. Can goodness win? But this film is really not a neo-noir.
"As the world becomes more interconnected, our addictions (and our relationships) become more primitive." Can goodness win, you ask? No, it can't--and that might be true in real life as well. We wait for The Killing of a Russian Stooge, which is part of a post-neo-noir strangling the USA right now. Will we live long enough to see the films that will do justice to this irredeemably sordid story?
23. The Last Seduction
Female empowerment and meta-irony. Too smirky.
24. Sin City 2.5/4. Fantasy-noir. Too exaggerated to be among the best noirs.
25. The Usual Suspects 2/4 Not a good movie. Deception.
Another facet of overdetermination is found here--mannerism, plot holes, and characters developed to indulge the worst excesses of actors who can't resist all forms of hamming it, whether underplayed or overplayed (Kevin Spacey).