10 Best Movies Set In New Jersey, Ranked

Pork rolls. Bruce Springsteen. 24-hour diners. Boardwalks. These are just a few of the quintessential New Jersey icons you'll find in most films about the state. New Jersey has one of the most unique and diverse landscapes, boasting pastoral farmlands (it is, after all, the Garden State), tightly-packed cities, refineries stretching to the sky, and sandy beaches next to amusement parks.

Yet, despite this eclectic mix, many stories about New Jersey focus on escape, wanting to get the hell out of the state to chase something bigger and better. This feeling is exacerbated by being right next to New York City. It can be frustrating to have the skyline of that thrilling concrete jungle just outside your doorstep, yet still feel far enough away to be unattainable.

The notion that New Jerseyans are always on the outside looking in, just a step away from success, is a common theme. Many films about New Jersey have working-class characters who dream of rising above. But there are just as many flashy characters with gumption and a can-do attitude, and they're right at home in the glitzy casinos or neon-lit pizza joints. This list highlights 10 movies that not only take place in New Jersey or were filmed there, but also use the state as an integral and irreplaceable part of their stories.

Zach Braff's directorial debut often gets a lot of flack for its depiction of an insufferable Manic Pixie Dream Girl, but "Garden State" also captures the heartache of becoming an adult in its own quirky and melancholy way. Just as Bruce Springsteen once described New Jersey as a "death trap" and a "suicide rap" in "Born to Run," Braff's Andrew Largeman escapes his home state's suburban mundanity by fleeing to Los Angeles.

For him, New Jersey is a place filled with pain, marked by his estranged relationship with his father, who blames him for causing the accident that left his mother a paraplegic. It is also a place that offers no future and condemns you to a stagnant life — just like his friend Mark, who stayed in their hometown and now digs graves for a living. The emotional numbness that Andrew feels — from being on medication and having to suppress all his complex emotions about his mother's accident and death — is reflected in the grayish skies and the very dull suburban locales.

Famously, at one point, Andrew, Mark, and his new romantic interest Sam go to a quarry — a vast, deep, rocky pit. Standing on top of a rusty old crane in the pouring rain, they let out a primal scream. Their howls are a much-needed release of pent-up emotions; all the anger, confusion, and uncertainty of being in your early 20s and having to navigate this new adult life for yourself, where the time to create the future you want is now. Even with some of its flaws, "Garden State" is a touching portrayal of how where you grew up is always a part of you, no matter how much you may want to let go.

"The Sopranos" not only brought New Jersey to the forefront of popular culture, but it's also one of the best HBO shows of all time. In comparison, however, fans have mixed emotions about the prequel film, "The Many Saints of Newark," a more introspective deconstruction of standard mafia movies. The film takes us back to the heyday of the DiMeo family in the late 1960s and early 1970s, a time when the gangsters were seen as more refined in their slicked-back hair and tailored suits.

The opening inside the Central Railroad of the New Jersey Terminal, with its grand archways, the bustle of the traveling crowds, and the New York City skyline in the distance, is visually exciting. We witness a young Tony Soprano's fascination with his mentor, Dickie Moltisanti, after his father goes to jail. The casting of Michael Gandolfini, James Gandolfini's real-life son, as Tony is poetic, while Alessandro Nivola's portrayal of Dickie is intense; there's a fierce temper that boils beneath his composed exterior, despite his efforts to maintain a benevolent face for the community, like coaching the little league for the blind.

One of the most harrowing scenes reveals the lengths of his rage. After dining at the rustic, oceanside Bahrs Landing Famous Seafood Restaurant & Marina, Dickie and his mistress, Giuseppina, walk along the windy beach. The tranquil serenity of the coastal setting turns brutally violent when she confesses to having an affair, though, and he drowns her in the ocean. "The Many Saints of Newark" also tackles a larger, systemic violence by showcasing the Newark riots, a pivotal part in New Jersey history that fought against racial injustice. "The Many Saints of Newark" may have been a box office bomb, but it was a thrill to be back in Tony Soprano's world.

Brian De Palma's operatic thriller "Snake Eyes" is set in Atlantic City, one of the most famous parts of New Jersey. Tourists love to visit the saltwater taffy stores, sandy beaches, and lengthy boardwalk surrounded by flashy casinos. Nicolas Cage is at his hammy best as the dishonest Atlantic City police officer Rick Santoro, who suddenly finds himself investigating the assassination of a boxer — possibly instigated by a temptress dressed all in white.

Atlantic City is the perfect backdrop for a Brian De Palma movie: a glittering spectacle of excess and decadence with a seedy underbelly. The setting similarly matches the filmmaker's stylistic flourishes, which include split-screens, a 12-minute opening tracking shot, and bird's-eye-view shots of the bacchanal and clandestine occurrences that happen within the casino walls, like making love on a hotel floor or spraying champagne after a big win. De Palma's flamboyant visuals fit right into the cacophony of flashing lights and raucous excitement of casino living.

"Snake Eyes" had an alternate ending that would have been even stronger and made better use of the seaside setting, in which a literal tidal wave comes to wash away the corrupt characters. De Palma hasn't made a film since the disappointing "Domino" in 2019, but Cage has said he would love to make a "Snake Eyes" sequel with him.

Kevin Smith has described New Jersey as being in his DNA (via Edge Magazine). He was inspired by other filmmakers such as Richard Linklater, who constantly makes films set in Texas, to create films that used his home state as a main character. From Smith's feature directorial debut "Clerks" to most of his best movies, New Jersey serves as a colorful backdrop for his crass, working-class characters.

But "Chasing Amy" is where New Jersey comes to vibrant life the most. Holden and Banky live above Jack's Music Shop on Broad Street in Red Bank, a town that is an artistic mecca with record stores, vintage shops, and professional theaters — perfect for the characters who are comic book creators. In real life, Smith owns Jay and Silent Bob's Secret Stash directly across the street, selling comic books, action figures, and collectibles. The fun-loving New Jersey filming locations capture the whirlwind of Holden and Amy's relationship, be it the Silverball Retro Arcade in Asbury Park, where they're surrounded by the chimes and dazzling colors of pinball machines, or the Ice Palace in Brick, with its playful half-circle roof design and mid-century Americana style.

One of the most memorable scenes in "Chasing Amy" takes place at a quintessential New Jersey location: a diner. It feels like a true Jersey ritual to have heart-to-hearts in these greasy spoons with vinyl booths and quick 'n' easy comfort food. It is here where Silent Bob not only speaks, but even monologues about his own romantic regrets that have left him doomed to keep chasing his dream girl, Amy. While "Chasing Amy" has some questionable views on queer sexuality that now seem outdated. it's one of the few Kevin Smith movies that manages to genuinely balance sensitivity and romance without losing his trademark raunchiness.

"The Station Agent" showcases New Jersey's quieter, rural side. The exceptional Peter Dinklage, all eyebrow furrows and sagging frowns, plays Finbar McBride, a cynical man who wants to leave the hectic city of Hoboken and live in solitude at an abandoned train station in Newfoundland that he inherits. The small white building sits alone, surrounded by trees and a gravel road lined with train tracks. But life has other plans for him when he befriends a chatty hot dog vendor named Joe and Olivia, a woman who recently lost her son.

The secluded, bucolic parts of New Jersey reflect the film's calm rhythm and intimacy. We see the glistening water of Lake Hopatcong as Finbar and Olivia sit on a dock, and Joe and Finbar grab a bite at the Mill Lane Tavern, a tiny local bar that stretches out vertically with an old-fashioned exterior reminiscent of a Western saloon. It is nestled in the trees next to the train tracks.

"The Station Agent" is a small-scale film focused on building character relationships. Alongside Dinklage, Bobby Cannavale and Patricia Clarkson bring their theater backgrounds to create delicately fleshed-out performances of humans just trying to get through life. The film even feels like a play with its dialogue-centric script about the personal problems of a small group of characters. "The Station Agent" is one of the coziest depictions of New Jersey, a funny and tender film that reminds us we can't get through life's struggles alone.

After his critically acclaimed debut "Heavy," James Mangold returned with assistance from Sundance Labs for "Cop Land," a drama about NYPD cops covering up a racially-driven crime being investigated by Internal Affairs and Freddy Heflin, the sheriff of a sleepy, suburban New Jersey town. The cast is absolutely stacked, featuring Harvey Keitel, Ray Liotta, Robert De Niro, and Robert Patrick, with Sylvester Stallone as Freddy at the center. Stallone delivers one of his most understated and sensitive performances in the film. New Jersey represents failure for Freddy because he never made it as a big-city cop due to his hearing loss, which he developed after rescuing a drowning woman. The crooked NYPD cops take advantage of New Jersey being overlooked as the "armpit of New York City." They believe they can leave their corruption and misdeeds across the river, where it won't follow them.

One of the highlights of "Cop Land" is when Freddy listens to New Jersey icon Bruce Springsteen. Since Freddy is a silent observer, Springsteen's gravelly voice on the romance songs from his album "The River" serve as the character's interior monologues; the tunes are everything he wants to say but can't. For example, "Drive All Night" plays on the turntable when Freddy reminisces about Liz, the woman he saved from drowning; like Springsteen's nocturnal driver, he would do anything for her. In another scene, the rumbling drums of "Stolen Car" play while Freddy sweetly lays his head on Liz's shoulder. The lyrics about a couple that will be torn apart encapsulate the pair's doomed relationship. Stallone's Pound Puppy-eyed expressions also bring the yearning in Springsteen's voice to life. It's these little details about characters and their intimate exchanges that make "Cop Land" more than just a regular police suspense movie.

The mystery, intrigue, and mischievous spirit of boardwalk life are beautifully captured in director Louis Malle's "Atlantic City." The debonair Burt Lancaster plays Lou, an aging, small-time mobster who crosses paths with Sally, a waitress at an oyster bar dreaming of a better future as a blackjack dealer in Monte Carlo. They form an unlikely alliance as they plot schemes to outwit Sally's criminal husband.

All around them, Atlantic City is crumbling. The hotels and apartment buildings, soon to be demolished, will make way for the new, glitzy casinos; this symbolizes the dashed dreams of the main characters, each of whom arrived in Atlantic City with hope only to find themselves older, redundant, and stuck in the same circumstances years later. While the setting can be rough and sleazy, Atlantic City also has an antique charm that we see in many of its famous locations: the tourist attraction elephant Lucy, the neon-lit Club Harlem, and the Knife and Fork Inn, a restaurant with a white stucco exterior that resembles a Flemish-style castle.

"Atlantic City" is an eccentric and wistful story of unlikely friendship. Not only is it one of the best portrayals of New Jersey, but it's also a thoughtful meditation on how the changes of a city can leave its longtime residents feeling abandoned and out of place.

New Jersey is viewed with a bittersweet nostalgia in John Sayles' "Baby It's You." The film follows two teenagers, Jill and Sheik — the Jewish daughter of an upscale doctor and Italian son of a garbageman — who have a brief but passionate romance in high school. "Baby It's You" depicts New Jersey as a place of escape to a (hopefully) better future — a place that would confine you to a dull, blue-collar existence or limiting domestic roles as a wife and mother. We see this in the bland setting of the school and the nighttime scenes, with tightly packed rowhouses, chain-link fences, and cars crowding the streets. Jill and Sheik attempt to redefine themselves after graduation: Sheik seeks fame in Miami, while Jill studies theater at Sarah Lawrence and becomes swept up in the growing counterculture movements. But as they start growing in different directions, they learn that the adult world cannot sustain their differences in class.

However, New Jersey also holds a sweetness for them, and a memory that will last a lifetime. One of the most tender scenes is when Jill and Sheik play hooky from school and drive to Asbury Park, where they walk along the boardwalk and sit by the ocean against Ben E. King's wistful "Stand By Me." Later, they dance in the tiny Roadside Diner in the nearby town of Wall, which resembles a train car, slowly swaying to Frank Sinatra's "Strangers in the Night" on the jukebox, surrounded by shiny chrome. New Jersey's prodigal son, Bruce Springsteen, also appears on the film's soundtrack, articulating the characters' raw emotions in songs like "Adam Raised a Cain" and "She's the One." "Baby It's You" is one of the best and most underrated subversions of the coming-of-age genre.

To quote /Film's original 2008 review of the movie, Mickey Rourke was born to play his role in Darren Aronofsky's tragic and gritty "The Wrestler." Rourke's Randy "The Ram" Robinson was a popular wrestler in the 1980s, but now resides in a decrepit trailer park and works in a sterile meat deli. Its harsh fluorescent lights, endless rows of packaged foods, and white walls are clinical and cold, a far cry from his former glories in the ring. Aronofsky's decision to use 16mm gives the cinematography a gritty realism, especially when paired with the close-up, handheld camerawork that makes the audience feel as if they are taking each plodding step right alongside the aging, worn-down celebrity.

"The Wrestler" mostly captures a New Jersey that is gray, cold, and drab, having filmed in working-class cities such as Bayonne, Elizabeth, Rahway, and Linden. Randy wanders through spaces that are just as shabby and neglected as he is: strip clubs, bargain stores, and half-empty school gyms. The scene in Asbury Park where Randy and his estranged daughter Stephanie reunite stands out the most. Randy shares memories of Stephanie at the funhouse, where she used to scream and cling to his leg when she was younger. The boardwalk is empty in the chilly winter, with Randy and his daughter bundled in their coats as they pass Convention Hall, a combination of coastal art deco elegance contrasting with a worn brick façade. Like Randy, it's a town that has seen better days and better seasons. "The Wrestler" is a dour depiction of New Jersey, but this only serves to make the bright lights and throngs of adoring fans that await Randy on stage feel like his true home.

Elia Kazan's rousing, nearly-perfect drama "On the Waterfront" stars Marlon Brando in one of his most infamous roles as Terry Malloy, a former boxer turned New Jersey longshoreman who bravely stands up to exploitative union bosses. They extort money from their hard workers, put fear in their hearts about losing their jobs with threats of violence, and silence anyone who dares to speak against them. The film's black-and-white cinematography makes the industrial setting of the weatherworn docks, with clanging chains and the high-pitched whistles of nearby ships, seem even more oppressive. There's a cloudy mist that hangs over the entire film, set during a bone-chilling winter, where the men can be seen trembling from the cold, their breath wafting in the air. This bleak atmosphere makes their fight for their rights feel even more pressing.

Terry also seeks religious guidance in the towering spires and ornately-detailed, dark wood churches of Hoboken. Catholicism has a huge presence in New Jersey thanks to the Italian and Irish immigrants who first settled there. During one of the movie's most famous scenes, Terry walks with Eva Marie Saint's Edie, sits on a swing in a park, and plays with her glove. We see the surrounding city in the background, the stoic row houses and wrought-iron fences lining the working-class streets that forged Terry and his fellow dockworkers, the lifeblood of that community. "On the Waterfront" depicts a very specific time and place in New Jersey life, but its themes of working-class resistance are universal and feel more relevant than ever in 2025.