27 Road Trip Movies Every Traveler Needs To Watch

One of the most iconic road trips in cinematic history was taken by Peter Fonda and Dennis Hopper in Hopper's 1969 classic "Easy Rider." The legendary image of Fonda and Hopper riding their motorcycles while Steppenwolf's "Born To Be Wild" plays remains people's main association with "Easy Rider." But the movie itself is more complicated than just the thrill of riding down wide-open roads. The tagline tells of a man who went looking for America and "couldn't find it anywhere," and that's a good summation of the cynical eye this takes toward the country it explores.

Fonda and Hopper encounter some friendly people in their travels, most famously Jack Nicholson in his breakout role as a drunken lawyer. They encounter just as much resistance as they do support, from people with no tolerance for their countercultural attitudes and long hair. In one scene, Nicholson tells Hopper that people are scared of him because "what you represent to them is freedom," and the film's bleak ending offers little hope that freedom can be maintained in the face of such strong opposition. But the power of the film's images of freedom and joy is still enough to keep this as one of the beloved road movies.

Getting stuck with someone annoying on a long road trip can be a miserable experience, so spending the entirety of the 2011 comedy "The Color Wheel" with two annoying people on a road trip can make it a tough sell. But the film's writer-director, Alex Ross Perry, has an uncommon talent for writing people who only seem to be awful and irritating so that they're both funnier and more tragic than they would be in real life. That skill serves him especially well for the two leads of "The Color Wheel," an obnoxious brother and sister (played by Perry and Carlen Altman) whose road trip through New England leads them to meet strangers and old friends who are all even more awful than they are. The scenery offers little comfort when every scene becomes a passive-aggressive argument.

"The Color Wheel" is above all else a comedy, happy to laugh at its main characters for their abysmal social skills and undisguised contempt for each other and everyone around them. But as the trip goes on and they keep meeting hostile exes and classmates, their situation starts to seem a little sad, like they've been molded into hateful jerks by the whole world around them. Their final attempt to escape the cycle of anger and venom is shocking, but it's also unexpectedly tender, because Perry respects his characters even as they embarrass themselves.

"Zola" isn't the only movie where Riley Keough is a uniquely awful road trip presence. There's also the 2016 drama "American Honey", where Keough enlists a young girl played by Sasha Lane into a crew of door-to-door magazine salespeople. They travel blissfully across the Midwest, and Lane falls in love with a member of the crew, played by Shia LaBeouf. But their peaceful, off-the-grid existence is threatened by Keough and the precarity of their jobs.

A common thread across many of the great American road movies is that they're not directed by Americans, with international directors often looking at American landscapes in a different way than their American counterparts who've grown up with them. English director Andrea Arnold joins that group of directors with how she films America here, pushing the colors of the landscapes to such extremes that the emotions associated with them are also heightened, whether they be romance or danger. Her beautiful imagery is accentuated by her pulsing soundtrack, which switches between big-name pop hits and obscurities that perfectly match the mood of youthful excitement and negligence that defines "American Honey."

Not all road trips start from good intentions. The one undertaken by Kit (Martin Sheen) and Holly (Sissy Spacek) in 1973's Bonnie and Clyde story "Badlands" starts after Kit murders Holly's father and burns down their house. That's where the journey begins, and eventually Kit is responsible for much more than one murder. But there's still an innocence to young Kit and Holly's trip, where they create their own society out in the wilderness and encounter all kinds of gorgeous nature. "Badlands," writes Sheila O'Malley for Criterion, is based on the 1958 murder spree of Charles Starkweather and Caril Ann Fugate, but its power doesn't come from its killings so much as its troubling naivete, where the blinkered teenage attitudes of its protagonists and the pastoral beauty of their surroundings say nothing about the horrible violence occurring right in front of them.

"Badlands" was the debut of writer-director Terrence Malick, who would go on to develop a reputation for his eye for natural landscapes. That's present even this early, shooting trees and sunsets so that they appear magical more than natural. But that magic here comes with a terrible price, and Malick seems as disturbed by nature's non-reaction to the evil committed all around it as he is entranced by its power.

Few directors are as synonymous with the road and road movies as Wim Wenders, the German director who's made several of the best-loved movies about the road ever made. His most overt takes on the road genre are the three movies that make up his "Road Trilogy," starting with "Alice in the Cities" in 1974. "Alice in the Cities" concerns German writer Philip (Rüdiger Vogler), who follows a disappointing assignment by meeting a woman (Lisa Kreuzer) and her young daughter Alice (Yella Rottländer), then agreeing to go on a trip through Amsterdam. Their trip is marked by complications, boredom, and a lot of music, including a Chuck Berry concert and a jukebox playing Canned Heat. And all the while, Philip and Alice begin to develop a friendship.

"Alice in the Cities" is one of the most lasting Wenders movies, inspiring the work of filmmakers like Allison Anders and Mike Mills, particularly Mills' own adult-and-child road movie "C'mon C'mon." "Alice in the Cities" holds special power for its tale of unexpected companionship, where the road has the magic to bring together people who never would have even met under different circumstances. Even when the sights aren't exciting, getting to experience those sights with someone new can be a rewarding experience.

After making 2001's "Y tu mamá también," Alfonso Cuarón stuck to making large-scale spectacles and big-budget blockbusters. But in "Y tu mamá también," Cuarón applies his usual technical excellence to a simple story of a woman and two teenage boys going on a road trip. The Mexican landscapes they drive past are beautifully shot by future Oscar-winning cinematographer Emmanuel Lubezki, and their conversations are profane and hilarious, especially as delivered by Diego Luna and Gael García Bernal in their breakthrough roles. But a serious side creeps into "Y tu mamá también" as it goes on, eventually taking it over entirely.

As the three take their trip, they pass by political strife and Mexican culture soon to die out entirely. The characters may only be passing through these areas, but there are people living in the areas whose lives will be very difficult long after the leads are gone. Despite its main characters' immaturity, this is a surprisingly thoughtful road trip movie, understanding that even the most pristine locales are burdened by troubling history. That also turns out to be true about the main characters' dynamics, where the teenage leads eventually realize the depths of sadness and desperation they and their traveling partner carry with them. But before they get to that point, they have a great time, and so does the viewer watching them.

The films and TV of David Lynch are usually filled with the darkness and violence that lurk beneath the beautiful landscapes of America. But Lynch still loves those landscapes and the people who inhabit them, and never is that clearer than his only movie to get a G rating, 1999's "The Straight Story." He tells the story of a real-life road trip, where an elderly, almost blind farmer named Alvin Straight (Richard Farnsworth) drove a lawn mower from Iowa to Wisconsin to see his ailing brother (Harry Dean Stanton).

There's not much dialogue in "The Straight Story," especially for the long stretches where Alvin is on his own out on the road, but it's not necessary when Lynch is working with the wide-open expanses of the midwest. He finds magic in the crop dusters and near-empty roads Alvin encounters, setting the sights to a moving Angelo Badalamenti score and making them even more powerful. And when Alvin does meet other people, their encounters are simple and touching, showing the hard lessons Alvin has learned about family over the course of a long, difficult life.

The third film in Wim Wenders' Road Trilogy, "Kings of the Road" is a three-hour opus combining two of Wenders' favorite subjects: the road and cinema. The two titular "kings" are a movie theater projector repairman (played by "Alice in the Cities" lead Rüdiger Vogler) and a depressed psychologist (Hanns Zischler), who band together on a road trip after the psychologist has experienced a life-shattering breakup. They drive across what was then the East German border, touring worn-down movie theaters so that Vogler can make repairs.

"Kings of the Road" offers even less of a plot than "Alice in the Cities" does, also offering one of the purest, simplest depictions of a road trip on film. There's no inevitable endpoint for the characters to reach, just a sprawling journey where they come to slightly better understand each other and themselves. It encompasses all the joy and melancholy of road trips in one package, people searching for more from life hoping that they'll find it behind the wheel.

For a more representative David Lynch road trip movie, there's "Wild at Heart," which manages to be funny and romantic as well as frightening. Sailor and Lula, the giddy young couple played by Nicolas Cage and Laura Dern, hit the road only after Lula's mother has unsuccessfully tried to kill Sailor, and on their journey they'll deal with more killers and more victims. But their love may be strong enough to keep them safe every step of the way.

The giddy energy of "Wild at Heart" is unusual for Lynch movies, which usually have a more deadpan tone. Cage and Dern are balls of energy in this, engaging in grand romantic gestures and, in Cage's case, frequently falling into Elvis impersonations. The world around them has gone mad with rage and violence, the road bringing as many terrors as beauties, and they seem to have adapted to that madness by matching it. The title doesn't lie — these are two wild kids who will let nothing, not even a horrifying figure like Willem Dafoe's psychopathic Bobby Peru, stand in the way of their love. And for all the darkness of the rest of the movie, Lynch is still kind-hearted enough to give them a happy ending.

Wim Wenders and playwright-actor Sam Shepard first collaborated on the 1984 road movie "Paris, Texas," one of the most acclaimed films in the genre. Their decades-later second collaboration was 2005's "Don't Come Knocking," another road movie that couldn't match the critical success of its predecessor. But "Don't Come Knocking" is a very good movie in its own right, finding a lot of power both in western vistas and the tragic figure passing in front of them.

Shepard wrote and stars in "Don't Come Knocking," playing a washed-up Western star who ditches the set of his new movie in favor of driving to Nevada and then Montana, where both cheap thrills and old family await him. As with Wenders' other films, he makes the western settings of "Don't Come Knocking" look incredibly beautiful, shooting casinos, small-town squares, and vast deserts with the same level of vibrant color and light. And it also shares with Wenders' other work a tremendous sadness, where Shepard has abandoned the people who need him most and has only realized this too late to do much of anything about it. This trip may not be able to redeem Shepard, but it can get him one step closer, and that's better than he's done yet.

One of the least commonly filmed ways of going on a road trip is taking the bus, perhaps because getting stuck with many unfamiliar people is not the most romantic way to see the country. But Spike Lee found a lot of drama, comedy, and political relevance in a story of a bunch of guys trapped on the bus. That story is 1996's "Get On the Bus," following a group of Black men en route to the famed Million Man March. Lee believes that every one of those million men has their own story, and he fits as many of those stories as he can into one bus.

As usual with Lee, "Get On the Bus" has an impressive cast, including Ossie Davis, Charles S. Dutton, Andre Braugher, and Bernie Mac. The characters touch on social issues, including homophobia and the anti-Semitism of Million Man March leader Louis Farrakhan, but mostly they have frank and funny conversations that naturally reveal their prejudices and moral stances rather than shout them out. Lee didn't write "Get On the Bus" (that was Reggie Rock Bythewood), but it shares the perceptive dialogue and unexpected comedy of Lee's best screenplays, including his beloved "Do the Right Thing." "Get On the Bus" is a smaller movie than "Do the Right Thing," but its confined setting doesn't mean it's any less riveting.

"Little Miss Sunshine" was the sensation of the 2006 Sundance Film Festival (per IndieWire), its story of a dysfunctional family trapped in a Volkswagen van on the way to a child beauty pageant in California proving irresistible to both critics and audiences. The famous images of the film, like the family chasing after the bright yellow Volkswagen, suggest the kind of quirky, Wes Anderson-inspired comedy that was all the rage in the 2000s. But like actual Wes Anderson movies, "Little Miss Sunshine" deals with real pain and hurt, trapping several very fragile people in a small space where they might all combust.

It's helped by having such a sturdy cast playing those fragile people, including Steve Carell in one of his first dramatic performances, a silent Paul Dano, an Oscar-winning Alan Arkin, and most of all an Oscar-nominated Abigail Breslin as the girl all this trouble is in service of. The movie might have collapsed into road-movie cliches without a strong presence anchoring it, and Breslin, then 10 years old, proves more than capable of being that presence.

In addition to being one of the great road trip movies, "The Adventures of Priscilla, Queen of the Desert" was also a breakout LGBTQ film when it was released in 1994, offering such a sunny view of its group of drag queens that it would be pointless to resist. The next year, America was already attempting its own "Priscilla" with the fellow drag-queen road movie "To Wong Foo, Thanks For Everything! Julie Newmar," but it couldn't compete with the original, particularly regarding the gorgeous vistas passed by the central trio. The stunning deserts of the Australian Outback prove to be an ideal setting for a story with outrageous outfits and colors, offering a plain brown backdrop on top of which every outfit and character pops out.

Not that the characters need any help standing out, especially when they're brought to life with such exuberance and talent. Only Terence Stamp, playing the transgender matriarch of the group, was an internationally known actor at the time of the release of "Priscilla." But the film also catapulted its other two leads, Hugo Weaving and Guy Pearce, to their stardom. Even as all three actors are now almost three decades out from "Priscilla," it remains one of their crowning achievements, as well as one of the most infectiously cheerful road movies yet made.

Jonathan Demme's "Something Wild" takes a sharp turn around its midpoint, turning from a joyous road comedy to something scarier and more intense. But all of "Something Wild" is united by Demme's love of the road and of the people you can meet along the way. Sometimes those people can change your life, like how Melanie Griffith's free-spirited Lulu gets Jeff Daniels' yuppie businessman Charlie to admit that he has a wilder side than he presents to the world. And other times they can threaten that life, like Ray Liotta as Lulu's malevolent ex-husband, Ray, who resolves to force Charlie out of Lulu's life and win her back.

Even as "Something Wild" gets dark, Demme still finds something magical in every location visited, and often in places that seem perfectly ordinary. A friendly convenience-store employee, a dog on the back of a motorcycle, and a waitress singing outside of a New York greasy spoon — these details all come to vibrant life in front of Demme's camera. Few people have taken a road trip involving this many wacky, endearing characters, but the world as Demme portrays is a better, brighter place than it is in real life. It's a joy to experience a road trip in this world, even if only for two hours.