10 Best Movies Set In Maine, Ranked

Most filmgoers recognize big cities like Miami, Chicago, New York, and Los Angeles in their favorite motion pictures. Sure enough, those locals provide the backdrop to several classic pictures from Michael Bay’s “Bad Boys” to “Ferris Bueller’s Day Off,” “King Kong” and Michael Mann’s “Heat.”  However, another prominent locale exists in the film world, a place you’ve likely seen more often than not, even if it didn’t immediately stand out. We’re talking, of course, about the state of Maine.

Uniquely, many stories take place in the Pine Tree State. Its lush scenery and coastal views make for stunning cinematography, while the colder elements provide the necessary bleakness for heavier dramas. Here, family friendly fare like “Casper” and “Pete’s Dragon” took flight, while more intense films such as the alligator thriller “Lake Placid” and the Stephen King horror tale “Pet Sematary” found unique ways to scare the bejesus out of audiences. 

Still, while those films are fun, they aren’t the best to take place in the state. Without further ado, here are the 10 best movies set in Maine, ranked! 

Before diving into historical epics like “Braveheart,” “The Passion of the Christ,” “Apocalypto” and “Hacksaw Ridge,” not to mention 2025’s very “Flight Risk,” Mel Gibson directed “The Man Without a Face,” a compelling drama about the relationship between a troubled boy and a disfigured man.

Gibson stars as Justin McLeod, a painter/teacher living in isolation following a devastating car accident that left his face permanently scarred. By chance, he meets Chuck Norstadt (Nick Stahl), a young boy seeking help to pass a test required to join a military academy, and the pair form an unlikely friendship. However, McLeod’s murky past quickly comes back to haunt him, leading the local townsfolk to drive a wedge between student and teacher.

Shot around Deer Isle in Penobscot Bay in Maine, with additional footage filmed at Rockport and Brunswick, Gibson takes advantage of the local scenery, making for an effective, often visually arresting character drama. “The Man Without a Face” doesn’t ascend to the heights of his other directorial efforts, but it certainly packs an emotional punch. 

A remake of a beloved film does not often surpass the original. Yet 1998’s “The Parent Trap” manages the feat thanks to a pair of plucky performances by Lindsay Lohan, pulling double duty as long-lost twins who reunite at a summer camp and subsequently attempt to get their divorced parents back together.

Co-starring Dennis Quaid and Natasha Richardson, this Walt Disney production, a remake of the classic 1961 film starring Hayley Mills, adds a few clever twists to the routine without straying too far from the formula. “The Parent Trap” is a harmless, wholesome piece of popcorn entertainment that’ll leave a smile on all but the most cynical viewers.

While most of the picture takes place in California, the Camp Walden sequence that makes up the first act occurs in Maine — though even these scenes were filmed in California, specifically Camp Seeley in Crestline. Erroneous, it counts! 

The first of many Stephen King adaptations on this list, “Cujo” is essentially just an evil version of the 1992 family comedy “Beethoven.” Imagine if the giant, lovable, slobbering St. Bernard from that film went rabid and decided to murder his newfound family. Gross.

Here, Donna Trenton (Dee Wallace) gets trapped inside a car with her son Tad (Danny Pintauro) after getting attacked by a massive, infected killer dog. As the heat threatens to dehydrate the pair, Donna must take matters into her own hands to save her family from death by canine.

Tellingly, King’s novel, which he doesn’t remember writing, is a lot more chilling than this Lewis Teague-directed picture, as his gnarly descriptions of Cujo’s attacks are enough to make your stomach churn. Still, the film is a passable thriller, primarily due to Wallace’s believable performance and a few suspenseful sequences. At just over 90 minutes, “Cujo” offers a quick thrill but could’ve used a little more meat on the bone.

Since King wrote the story, it’s only natural that it takes place in the fictional town of Castle Rock, Maine, the setting for most of his stories. In case you were wondering, the locale also serves as the inspiration behind Rob Reiner’s Castle Rock Entertainment. 

Andy Muschietti’s terrific adaptation of Stephen King’s popular work, “It,” follows a group of youngsters battling an evil clown who awakens every 27 years to eat children. Many of King’s stories stumble on the big screen, resulting in dark horror pictures lacking the author’s complex ideas. “It,” on the other hand, combines a fascinating coming-of-age tale with the book’s more horrific elements, and while the results aren’t always perfect, Muschietti expertly captures the essence of King’s story, gifting audiences a thrilling, even heartwarming blockbuster.  

Bill Skarsgård stars as Pennywise, a mysterious killer clown with an appetite for very young children; the more scared they are, the better. Lingering beneath the town of Derry, Maine, our dancing villain sets his sights on a local clique headed by Bill Denbrough (Jaeden Martell), Richie Tozier (Finn Wolfhard), and newcomer Beverly Marsh (Sophia Lillis), but these kids prove quite the match for Pennywise, setting up a wicked battle of wits that will change their lives forever. As SlashFilm’s Karen Han noted in her review, “Come for the evil clown, stay for the incredible kid performances.” 

Maine provides the scenic setting for Brad Bird’s classic animated feature, “The Iron Giant,” in which a massive robot washes up in a small coastal town and befriends a child. Mixing elements of Steven Spielberg’s “E.T. The Extra-Terrestrial” with the artistry of Norman Rockwell and Edward Hopper, Bird presents a powerful story about friendship, war, and violence, that matters now more than ever.

Hogarth (Eli Marienthal) is a young boy living a quiet life with his mother (Jennifer Aniston) in Rockwell, Maine, during the height of the Cold War. One evening, he discovers an iron giant (Vin Diesel) living in his backyard, and the pair strike a friendship while trying to help the mysterious being remember his past. However, it’s not long before a paranoid government agent (Christopher McDonald) arrives searching for what he believes to be a Russian weapon, resulting in a tense standoff between the benevolent giant and the U.S. military. Can Hogarth convince everyone of his friend’s innocence before it’s too late?   

Another King adaptation, “Dolores Claiborne,” is a somber character study about an older woman wrongfully accused of murder, a case that unearths past transgressions involving her late husband. Directed by Taylor Hackford, this eerie drama uses the scenic vistas of Nova Scotia to recreate Maine’s lonely desolation, resulting in a bleak, cold, but ultimately rewarding picture.

Kathy Bates stars as Dolores Claiborne, a woman tasked with caring for a paralyzed client named Vera Donovan (Judy Parfitt). After an accident sends Vera to the grave, Detective John Mackey (Christopher Plummer) suspects Dolores of murder. Thus, Dolores’ estranged daughter, Selena (Jennifer Jason Leigh), must return to her hometown to defend her mother while simultaneously learning the truth about her abusive father (David Strathairn). 

Wonderfully acted, this harrowing tale tackles heavy subject matter, taking viewers on a dark journey of self-discovery and reconciliation. Part murder mystery, part family drama, “Dolores Claiborne” is a dazzling piece of cinema. 

Todd Field’s intricate “In the Bedroom” features dynamite performances by Sissy Spacek, Tom Wilkinson, Nick Stahl, and Marisa Tomei and goes for the jugular in its exploration of grief and loss, revenge and justice. It’s the type of film that leaves viewers questioning their beliefs and debating whether the ends justified the means. In short, “In the Bedroom” is a raw, haunting experience that lingers in your mind long after the heartbreaking final shot.

Ruth and Matt Fowler (Spacek and Wilkinson) live peacefully in Camden, Maine, where their son Frank (Stahl) visits for the summer. Frank has fallen for a divorced woman named Natalie (Tomei) and pursues a relationship despite his parents’ objections. Disaster strikes when Natalie’s violent ex-husband (William Mapother) accidentally kills Frank, throwing the Fowler’s blissful existence into a tailspin. Grieving for their son and struggling to maintain their marriage, Ruth and Matt must decide how to move on with their lives and deal with the man responsible for their tragedy.   

Frank Darabont’s under-appreciated adaptation of Stephen King’s “The Mist” is remembered primarily for its shocking ending. For good reason — that ending is, ah, well, you’ll just have to see for yourself. Still, two hours preceding the climactic moment, Darabont (who also wrote) spins a wild yarn about good versus evil, packed with King’s usual assortment of religious zealots, bullies, and creepy crawlies, and delivers a genuine thrill ride that deserves far more recognition than it receives. 

Thomas Jane stars as David Drayton, an everyman living with his wife and eight-year-old son, Billy (Nathan Gamble). Suddenly, a mysterious fog rolls into town, forcing the denizens of Bridgton, Maine, to seek shelter inside a local supermarket. As it turns out, this strange enigma contains deadly creatures of all shapes and sizes, seemingly designed to devour everything in sight. Terrified, the town breaks into factions, with many following the antics of a religious fanatic (Marcia Gay Harden) who believes the mist is an act of God’s vengeance upon their unholy town and others following the more practically minded David. Will the town make it through this nightmare, or are they damned to suffer at the hands of these strange creatures, or, worse, each other?   

For more info on “The Mist,” check out this detailed oral history of the film, written by SlashFilm’s Eric Vespe.

Lasse Hallström’s poignant adaptation of John Irving’s classic novel tells the tale of Homer Wells (Tobey Maguire), an orphan raised in an orphanage by Dr. Larch (Michael Caine), who sets off to see the world and in pursuit of his life’s purpose. A heady film, “The Cider House Rules” tackles everything from abortion to the complexities of love via a powerful coming-of-age story ripe with strong performances, Rachel Portman’s beautifully crafted score, and Irving’s sharp screenplay.

Homer lives at St. Cloud’s orphanage in Maine, where he learns obstetrics under the guidance of the compassionate Dr. Larch. The good doctor, you see, also secretly performs abortions, a practice Homer refuses to participate in. Tired of his quaint existence and longing to see the world, Homer vacates his post and takes a job at an orchard, falls in love with a woman named Candy (Charlize Theron, who supposedly had a rough time on the film), and learns more about life’s difficulties. 

Co-starring Delroy Lindo, Paul Rudd, and Jane Alexander, “Cider House” won Academy Awards for Best Adapted Screenplay (Irving) and Best Supporting Actor (Caine).

Frank Darabont’s “The Shawshank Redemption” is one of those films you must see at least once before you die. If you happen upon a conversation where somebody asks, “Have you seen ‘Shawshank,'” and your answer is, “No,” chances are you’ll be met with stunned looks of shock, maybe even anger at your abysmal failure. No, really. “The Shawshank Redemption” is fantastic, not just because of that jaw-dropping ending. Everything about it works. The acting, the directing, the dialogue, and Thomas Newman’s score all come together to form a profoundly heartfelt motion picture event that you’ll want to watch repeatedly. Somehow, the picture bombed at the box office but has since gone on to enormous acclaim.

Starring Morgan Freeman and Tim Robbins, the film chronicles the friendship of two lifelong prisoners during their stay at Shawshank prison – a real place, albeit located in Ohio rather than Portland, Maine. Throughout the years, our pals deal with typical prison hardships, notably corrupt guards, evil wardens, and violent cellmates, all the while clinging to the hope of escaping their prison and starting a new life on the other side.