American History X
Some legacies must end.
1998 | 119m | English
Popularity: 8 (history)
| Director: | Tony Kaye |
|---|---|
| Writer: | David McKenna |
| Staring: |
| Derek Vineyard is paroled after serving 3 years in prison for killing two African-American men. Through his brother, Danny Vineyard's narration, we learn that before going to prison, Derek was a skinhead and the leader of a violent white supremacist gang that committed acts of racial crime throughout L.A. and his actions greatly influenced Danny. Reformed and fresh out of prison, Derek severs contact with the gang and becomes determined to keep Danny from going down the same violent path as he did. | |
| Release Date: | Jul 01, 1998 |
|---|---|
| Director: | Tony Kaye |
| Writer: | David McKenna |
| Genres: | |
| Keywords | prison, skinhead, rape, brother, jail, tragedy, swastika, los angeles, california, xenophobia, interracial friendship, nazism, crime, powerful |
| Production Companies | New Line Cinema, The Turman-Morrissey Company, Savoy Pictures |
| Box Office |
Revenue: $23,900,000
Budget: $20,000,000 |
| Updates |
Updated: Jan 21, 2026 Entered: Apr 13, 2024 |
| Name | Character |
|---|---|
| Edward Norton | Derek |
| Edward Furlong | Danny |
| Beverly D'Angelo | Doris |
| Jennifer Lien | Davina |
| Ethan Suplee | Seth |
| Fairuza Balk | Stacey |
| Avery Brooks | Sweeney |
| Elliott Gould | Murray |
| Stacy Keach | Cameron |
| William Russ | Dennis |
| Guy Torry | Lamont |
| Joe Cortese | Rasmussen |
| Jason Bose Smith | Little Henry |
| Antonio David Lyons | Lawrence |
| Alex Sol | Mitch McCormick |
| Keram Malicki-Sánchez | Chris |
| Giuseppe Andrews | Jason |
| Michelle Christine White | Lizzy |
| Jonathan Fowler Jr. | Jerome |
| Christopher Masterson | Daryl Dawson |
| Nicholas R. Oleson | Huge Aryan |
| Jordan Marder | Curtis |
| Paul Le Mat | McMahon |
| Thomas L. Bellissimo | Cop #2 |
| Cherish Lee | Kammi |
| Sam Vlahos | Dr. Aguilar |
| Tara Blanchard | Ally Vinyard |
| Anne Lambton | Cassandra |
| Steve Wolford | Reporter |
| Richard Noyce | Desk Sergeant |
| Danso Gordon | Buddy #1 |
| Jim Norton | Randy |
| David Basulto | Guard |
| Alexis Rose Coen | Young Ally |
| Kiante Elam | Lawrence's Partner |
| Paul Hopkins | Student |
| Keith Odett | Random Skinhead |
| Paul E. Short | Stocky Buddy |
| Nigel Miguel | Basketball Player |
| Darrell Britt | White Supremicist (uncredited) |
| Robert 'Duckie' Carpenter | Skinhead (uncredited) |
| Sydney 'Big Dawg' Colston | Prison Gang Leader (uncredited) |
| John Embry | Parking Lot Skinhead (uncredited) |
| Maximillian Kesmodel | Young Danny Vinyard (uncredited) |
| Allie Moss | Skinhead Girlfriend (uncredited) |
| Barbie Marie | Student (uncredited) |
| Selwyn Ward | Student Leaving Bathroom (uncredited) |
| Sam Sarpong | Jail Inmate (uncredited) |
| Denney Pierce | Arresting Officer (uncredited) |
| Glendon Rich | Deputy Sheriff (uncredited) |
| Name | Job |
|---|---|
| Clovis Chamberet | Leadman |
| Craig Lafferty | On Set Dresser |
| Charles Belardinelli | Stunts, Special Effects |
| Rick Drapkin | First Assistant "B" Camera |
| David Elmore | Second Assistant "B" Camera |
| Warren Feldman | Second Assistant "A" Camera |
| Charles Papert | Steadicam Operator, "A" Camera Operator |
| John Sekula | First Assistant "A" Camera |
| Kate Dunn Kennedy | Casting Coordinator |
| Ángela Núñez | Costumer |
| Peter Barnett | First Assistant Accountant |
| Lisa Behlendorf | Post Production Accountant |
| Nancy A. Flint | Studio Teacher |
| Natalie Trussell | Production Secretary |
| Gerald B. Greenberg | Editor |
| Valerie McCaffrey | Casting |
| David McKenna | Screenplay |
| J. Kyler Black | Art Direction |
| Dan Olexiewicz | Art Direction |
| Curtis Baruth | Construction Coordinator |
| Pete Josephs | Construction Foreman |
| Tim Swan | Location Scout |
| Brandon S. Gilgen | Painter |
| Jon Gary Steele | Production Design |
| Tessa Posnansky | Set Decoration |
| Peter Sorel | Still Photographer |
| Doug Hall | Costume Design |
| Marisa Aboitiz | Costume Supervisor |
| Karyn Huston | Hairstylist |
| Heather Fraker | Makeup Artist |
| Ulker Irazat | Seamstress |
| Bill Fletcher | Wigmaker |
| Chris Warren | Chef |
| Brian R. Keathley | Craft Service |
| Diana Kaufman | Post Production Supervisor |
| Dyanne C. Deuel | Set Medic |
| Matt Baird | Set Production Assistant |
| Joe Cosentino | Transportation Captain |
| Adam Pinkstaff | Transportation Co-Captain |
| Geno Hart | Transportation Coordinator |
| Andrew Lipschultz | Unit Publicist |
| Ira Hurvitz | Script Supervisor |
| Bob McMillian | Color Timer |
| Glenn Cocco | First Assistant Editor |
| James Scott | Best Boy Electric |
| Joe Crouch | Electrician |
| Dale Obert | Gaffer |
| Curtis A. Andrews Jr. | Rigging Gaffer |
| Joe Fineman | Executive In Charge Of Post Production |
| Carla Fry | Executive In Charge Of Production |
| Marc E. Spiegel | Location Manager |
| Paul Belenardo | Production Accountant |
| Wendy Cox | Production Coordinator |
| Tom Hartig | Boom Operator |
| Richard Ford | Music Editor |
| Paul Broucek | Music Supervisor |
| Gavyn Wright | Orchestrator |
| Frederick Howard | Sound Designer |
| Roland N. Thai | Sound Effects Editor |
| Roger Dudley | Sound Engineer |
| Thomas L. Bellissimo | Special Effects Supervisor |
| Robert 'Duckie' Carpenter | Choreographer |
| Paul Hulme | Scoring Mixer |
| Paul Prokop | Production Controller |
| Parker Swanson | Assistant Property Master |
| Franco Esile | Set Dresser |
| Peter Menich | Title Designer |
| Sean Hunter Moe | Camera Loader |
| Mark Bolin | Dolly Grip |
| John T. Martin | Key Grip |
| James Alden | Grip |
| Lisa Parmet | Key Costumer |
| Kevin LaRosa | Pilot |
| Mark Cotone | First Assistant Director |
| David Larson | Second Assistant Director |
| David Jarrell | Chief Lighting Technician |
| Karen Jarnecke | Assistant Production Coordinator |
| Joe Adams | Casting Assistant |
| Susan Shin | ADR Supervisor |
| Robert Getty | Assistant Sound Editor |
| Craig Jurkiewicz | Foley Editor |
| Marc Cancel | Musician |
| Stephen Jennings | Visual Effects |
| Bob McNabb | Dialogue Editor |
| Walter Spencer | Dialogue Editor |
| Jed M. Dodge | Dialogue Editor |
| Steve Scoville | Dialogue Editor |
| David Grant | Dialogue Editor |
| David Mann | Foley Editor |
| Lynda Reiss | Property Master |
| Mary Erstad | Foley Mixer |
| Diane Marshall | Foley Artist |
| Ossama Khuluki | Foley Artist |
| David Lee Fein | Foley Artist |
| Alan Freedman | ADR Mixer |
| John Ross | Sound Re-Recording Mixer |
| Yuri Reese | Sound Re-Recording Mixer |
| William Smith | Sound Re-Recording Mixer |
| Sharleen Bright | Scenic Artist |
| Michael Keller | Second Second Assistant Director |
| Kelly Vandever | Additional Sound Re-Recording Mixer |
| Courtney Pakiz | Stunt Double |
| Bradley Richard | Additional Second Assistant Camera |
| William Robinson | Assistant Camera |
| Tim Angelo | Best Boy Grip |
| Brandon Smith | Post Production Coordinator |
| Paul Tompkins | Assistant Location Manager |
| Karen Elliott | Music Coordinator |
| Bill Dance | Extras Casting |
| Leo Stefanos | General Manager |
| Timothy P. Tundel | Payroll Accountant |
| Erik Holmberg | Production Executive |
| Merritt Yohnka | Stunts |
| Terence Harris | Extras Casting Assistant |
| Noon Orsatti | Stunt Coordinator |
| Anne Dudley | Original Music Composer |
| Alan Heim | Editor |
| Ernie F. Orsatti | Stunt Coordinator |
| Tony Kaye | Camera Operator, Director, Director of Photography |
| Joe Barnett | Sound Re-Recording Mixer |
| Bill Carraro | Unit Production Manager |
| Joseph Aroesti | Driver |
| Matthew W. Mungle | Special Effects Makeup Artist |
| Kimberly Ettinger | Assistant Editor |
| Denney Pierce | Stunt Coordinator |
| Paul E. Short | Stunt Coordinator |
| Eugene Collier | Stunts |
| Jimmy Ortega | Stunts |
| Michaël Mandaville | Production Supervisor |
| Steve R. Nelson | Production Sound Mixer |
| Name | Title |
|---|---|
| Jon Hess | Co-Producer |
| David McKenna | Co-Producer |
| Brian Witten | Co-Executive Producer |
| John Morrissey | Producer |
| Bill Carraro | Executive Producer |
| Michael De Luca | Co-Executive Producer |
| Kearie Peak | Executive Producer |
| Steve Tisch | Executive Producer |
| Lawrence Turman | Executive Producer |
| Organization | Category | Person | |
|---|---|---|---|
| Spirit Awards | Best Actor | Edward Norton | Won |
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 55 | 83 | 41 |
| 2024 | 5 | 91 | 107 | 76 |
| 2024 | 6 | 62 | 90 | 30 |
| 2024 | 7 | 55 | 87 | 32 |
| 2024 | 8 | 41 | 59 | 28 |
| 2024 | 9 | 32 | 48 | 24 |
| 2024 | 10 | 44 | 97 | 19 |
| 2024 | 11 | 36 | 71 | 29 |
| 2024 | 12 | 36 | 57 | 23 |
| 2025 | 1 | 37 | 47 | 29 |
| 2025 | 2 | 29 | 40 | 6 |
| 2025 | 3 | 11 | 35 | 4 |
| 2025 | 4 | 11 | 16 | 6 |
| 2025 | 5 | 10 | 17 | 6 |
| 2025 | 6 | 7 | 13 | 5 |
| 2025 | 7 | 5 | 6 | 5 |
| 2025 | 8 | 6 | 7 | 4 |
| 2025 | 9 | 7 | 10 | 5 |
| 2025 | 10 | 9 | 12 | 7 |
| 2025 | 11 | 7 | 9 | 5 |
| 2025 | 12 | 6 | 8 | 5 |
| 2026 | 1 | 7 | 9 | 6 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2026 | 1 | 483 | 726 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 12 | 559 | 823 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 11 | 481 | 807 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 10 | 496 | 768 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 9 | 402 | 786 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 8 | 493 | 743 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 7 | 290 | 733 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 6 | 248 | 677 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 5 | 511 | 821 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 4 | 311 | 753 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 3 | 509 | 766 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 2 | 454 | 737 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 1 | 435 | 787 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2024 | 12 | 526 | 803 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2024 | 11 | 333 | 743 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2024 | 10 | 904 | 948 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2024 | 9 | 906 | 938 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2024 | 8 | 575 | 815 |
Despite having a somewhat weak cast, this is an incredibly poignant drama of one man's struggle to live a new life. Probably too violent and close-to-home for some. ...
There's really no point to the movie. Just a lot of violence. That's pretty much it. ...
You could use this as a skinhead recruitment film because it failed so miserably in the message it was trying to push, and it failed miserably because they were too concerned about pushing the message that they forgot how they were framing the film. So a bunch of skinheads win a turf war basketba ... ll game, to stop the gang violence around the basketball courts, and then one of the Black people on the losing side tries to steal the car of one of the skinheads. And then the skinhead goes to jail for killing him. Then we have a flashback where the skinhead argues that Affirmative Action policies that put race before merit are racist because they put race before merit... to presumably illistrate how evil he is. Then his brother reads "Mein Kampf" for a book report and has to write a history paper titled American History X to teach him not to read books that should be banned... like the ACTUAL Nazis banned books. I mean that's not very free speech of them to tell people what they can or can't read. And before he turns it in, he gets killed by a Black kid, involved in the gangs, who took a gun into school. Too often in the film you get those moments where you have to stop and think "Why do the Neo-Nazis look like the good guys in comparison?" That's not what they were trying to do, at least I hope it wasn't, but it certainly was what they succeeded in doing. It's clearly supposed to tell you how the skinheads are the bad guys, I mean that was the intended message... but it doesn't really succeed in that, in fact it kind of makes the good guys, more often than not, with the exception of the prison scene... and people love it. And people love it. That raises a pretty serious question, do they love it for the message that they tried to push and failed miserably at, resulting in the movie making Neo-Nazis out to be the better of two evils more often than not, or do they love it because they faild miserably at making the Neo-Nazis out to be evil? It's sort of like "The Thin Red Line" where they pushed the leftwing message so hard that they made Americans seem like the bad guys in World War II.... when we were fighting actual Nazis and serious Japanese war criminals. They over did American History X on the narrative and because of that the message got lost in delivery.
You could use this as a skinhead recruitment film because it failed so miserably in the message it was trying to push, and it failed miserably because they were too concerned about pushing the message that they forgot how they were framing the film. So a bunch of skinheads win a turf war basketba ... ll game, to stop the gang violence around the basketball courts, and then one of the Black people on the losing side tries to steal the car of one of the skinheads. And then the skinhead goes to jail for killing him. Then we have a flashback where the skinhead argues that Affirmative Action policies that put race before merit are racist because they put race before merit... to presumably illistrate how evil he is. Then his brother reads "Mein Kampf" for a book report and has to write a history paper titled American History X to teach him not to read books that should be banned... like the ACTUAL Nazis banned books. I mean that's not very free speech of them to tell people what they can or can't read. And before he turns it in, he gets killed by a Black kid, involved in the gangs, who took a gun into school. Too often in the film you get those moments where you have to stop and think "Why do the Neo-Nazis look like the good guys in comparison?" That's not what they were trying to do, at least I hope it wasn't, but it certainly was what they succeeded in doing. It's clearly supposed to tell you how the skinheads are the bad guys, I mean that was the intended message... but it doesn't really succeed in that, in fact it kind of makes the good guys, more often than not, with the exception of the prison scene... and people love it. And people love it. That raises a pretty serious question, do they love it for the message that they tried to push and failed miserably at, resulting in the movie making Neo-Nazis out to be the better of two evils more often than not, or do they love it because they faild miserably at making the Neo-Nazis out to be evil? It's sort of like "The Thin Red Line" where they pushed the leftwing message so hard that they made Americans seem like the bad guys in World War II.... when we were fighting actual Nazis and serious Japanese war criminals. They over did American History X on the narrative and because of that the message got lost in delivery.
You could use this as a skinhead recruitment film because it failed so miserably in the message it was trying to push, and it failed miserably because they were too concerned about pushing the message that they forgot how they were framing the film. So a bunch of skinheads win a turf war basketba ... ll game, to stop the gang violence around the basketball courts, and then one of the Black people on the losing side tries to steal the car of one of the skinheads. And then the skinhead goes to jail for killing him. Then we have a flashback where the skinhead argues that Affirmative Action policies that put race before merit are racist because they put race before merit... to presumably illistrate how evil he is. Then his brother reads "Mein Kampf" for a book report and has to write a history paper titled American History X to teach him not to read books that should be banned... like the ACTUAL Nazis banned books. I mean that's not very free speech of them to tell people what they can or can't read. And before he turns it in, he gets killed by a Black kid, involved in the gangs, who took a gun into school. Too often in the film you get those moments where you have to stop and think "Why do the Neo-Nazis look like the good guys in comparison?" That's not what they were trying to do, at least I hope it wasn't, but it certainly was what they succeeded in doing. It's clearly supposed to tell you how the skinheads are the bad guys, I mean that was the intended message... but it doesn't really succeed in that, in fact it kind of makes the good guys, more often than not, with the exception of the prison scene... and people love it. And people love it. That raises a pretty serious question, do they love it for the message that they tried to push and failed miserably at, resulting in the movie making Neo-Nazis out to be the better of two evils more often than not, or do they love it because they faild miserably at making the Neo-Nazis out to be evil? It's sort of like "The Thin Red Line" where they pushed the leftwing message so hard that they made Americans seem like the bad guys in World War II.... when we were fighting actual Nazis and serious Japanese war criminals. They over did American History X on the narrative and because of that the message got lost in delivery.
You could use this as a skinhead recruitment film because it failed so miserably in the message it was trying to push, and it failed miserably because they were too concerned about pushing the message that they forgot how they were framing the film. So a bunch of skinheads win a turf war basketba ... ll game, to stop the gang violence around the basketball courts, and then one of the Black people on the losing side tries to steal the car of one of the skinheads. And then the skinhead goes to jail for killing him. Then we have a flashback where the skinhead argues that Affirmative Action policies that put race before merit are racist because they put race before merit... to presumably illistrate how evil he is. Then his brother reads "Mein Kampf" for a book report and has to write a history paper titled American History X to teach him not to read books that should be banned... like the ACTUAL Nazis banned books. I mean that's not very free speech of them to tell people what they can or can't read. And before he turns it in, he gets killed by a Black kid, involved in the gangs, who took a gun into school. Too often in the film you get those moments where you have to stop and think "Why do the Neo-Nazis look like the good guys in comparison?" That's not what they were trying to do, at least I hope it wasn't, but it certainly was what they succeeded in doing. It's clearly supposed to tell you how the skinheads are the bad guys, I mean that was the intended message... but it doesn't really succeed in that, in fact it kind of makes the good guys, more often than not, with the exception of the prison scene... and people love it. And people love it. That raises a pretty serious question, do they love it for the message that they tried to push and failed miserably at, resulting in the movie making Neo-Nazis out to be the better of two evils more often than not, or do they love it because they faild miserably at making the Neo-Nazis out to be evil? It's sort of like "The Thin Red Line" where they pushed the leftwing message so hard that they made Americans seem like the bad guys in World War II.... when we were fighting actual Nazis and serious Japanese war criminals. They over did American History X on the narrative and because of that the message got lost in delivery.
You could use this as a skinhead recruitment film because it failed so miserably in the message it was trying to push, and it failed miserably because they were too concerned about pushing the message that they forgot how they were framing the film. So a bunch of skinheads win a turf war basketba ... ll game, to stop the gang violence around the basketball courts, and then one of the Black people on the losing side tries to steal the car of one of the skinheads. And then the skinhead goes to jail for killing him. Then we have a flashback where the skinhead argues that Affirmative Action policies that put race before merit are racist because they put race before merit... to presumably illistrate how evil he is. Then his brother reads "Mein Kampf" for a book report and has to write a history paper titled American History X to teach him not to read books that should be banned... like the ACTUAL Nazis banned books. I mean that's not very free speech of them to tell people what they can or can't read. And before he turns it in, he gets killed by a Black kid, involved in the gangs, who took a gun into school. Too often in the film you get those moments where you have to stop and think "Why do the Neo-Nazis look like the good guys in comparison?" That's not what they were trying to do, at least I hope it wasn't, but it certainly was what they succeeded in doing. It's clearly supposed to tell you how the skinheads are the bad guys, I mean that was the intended message... but it doesn't really succeed in that, in fact it kind of makes the good guys, more often than not, with the exception of the prison scene... and people love it. And people love it. That raises a pretty serious question, do they love it for the message that they tried to push and failed miserably at, resulting in the movie making Neo-Nazis out to be the better of two evils more often than not, or do they love it because they faild miserably at making the Neo-Nazis out to be evil? It's sort of like "The Thin Red Line" where they pushed the leftwing message so hard that they made Americans seem like the bad guys in World War II.... when we were fighting actual Nazis and serious Japanese war criminals. They over did American History X on the narrative and because of that the message got lost in delivery.