Why it's similar — Scorsese's Depression-era drifter picture rhymes with Fight Club in its interest in a cell of outsiders building a counter-economy under the surface of a hostile mainstream one, and in its willingness to follow the cell all the way to violence rather than dropping the camera at the rhetorical stage.
Why it's similar — Aronofsky's parallel-cut addiction quartet shares Fight Club's late-nineties American sense that the consumer surface and the bodily interior have stopped talking to each other, and pursues the same diagnosis to a much bleaker resolution — recommended if you want the Fincher film without its closing hand-hold.
Why it's similar — The David Tennant–Tom Hardy biographical drama shares Fight Club's reverse-engineering structure — beginning at the wreckage and reading the life backward toward the formative wound — and treats its damaged-man subject with a similar refusal to romanticise the damage as wisdom.
Why it's similar — Rodriguez and Miller's high-contrast comic-noir city sits in the same visual neighbourhood as Fincher's late-nineties green-grey palette, and its anthology of compromised men attempting moral reclamation in a corrupt urban surround rhymes structurally with the Narrator's third-act attempt to claw a single self back out of Project Mayhem.
Why it's similar — The Sin City sequel slows the original's anthology cadence into longer single-protagonist runs, which makes it the closer pacing match for Fight Club's extended descent through one consciousness, and it shares the earlier film's willingness to let a wronged narrator carry a chapter to a violent close.
