Fort Apache: The Bronx (1981) starring Paul Newman is not widely considered neo-noir. It does not appear in Grant's list. The anonymous Wiki write-up terms it a neo-noir crime drama, however. I have it but I'd have to re-watch it before saying.
It's hard for me to say what neo-noir is in ways that distinguish a neo-noir from a crime drama. "The Deep End" (the 2001 re-make of The Reckless Moment") is definitely a neo-noir, for example. There is a scholarly article that says so and compares the two films. The plot is built around crimes, yet it would not be termed a crime film (or classed solely by crime genre) because its focal points have to do with other things and the way that the story is told brings out these other themes. The same could be said of "White Heat" and "Baby Face Nelson". The question is whether or not a crime drama goes beyond its genre to explore themes through the script, direction and cinematography that make the film into neo-noir. And something else: tone or style or approach to the material.
Consider this problem of crime genre and neo-noir. Some crime dramas are neo-noir, others not. Why?
"Badlands" (1973) appears in Grant and Silver et al, 2010. So it's considered neo-noir. It's not a favorite of mine, and it's been so long since I've seen it that I could not say whether it rises above genre. I'd have to view it again. But if it's to rise above documenting a murderous crime spree, if it's to become neo-noir, there must be some requirements.
"The Onion Field" is not in Grant as neo-noir but it's referenced in Silver and Ward (1982). The wiki piece calls it neo-noir crime drama. The book edited by Conard on The Philosophy of Neo-Noir examines this movie in relation to Kant, so that's a vote for its being neo-noir. What makes it rise above its meticulous plot to transcend being only a crime drama? The whole article is here:
As in "The Deep End", if a movie uses the possibilities of film, the available story-telling elements, in such ways as to go into thematic depth, be it of human nature, morality, social features, politics, madness, identity, etc etc, then it may qualify as noir. But it takes also some hard-to-identify tone or perspective, how it's "played" to ensure this. "Gone With the Wind" is a terrific film with depth, but who calls it noir? No one. Why not? It's played as a big drama. A neo-noir that injects too much comedy starts to be played as a comedy and starts to lose the neo-noir-ness.
What is this "noir-ness"? The makers of the film focus the whole movie in such ways to emphasize or explore some things that identifiably we react to by the term "noir". Irony, which comes across sometimes as fate, is a frequent contributor to the tone of noir-ness. Things do not turn out as people plan.
The mere presence of a struggle against forces of nature and other people sometimes lends noir-ness to a film. A good adventure film told in a certain way comes to assume a noir quality. What is that way?