Because most of the characters are merely amoral in Pulp Fiction, the only time this seems to kick in is when Butch (a boxer running for his life) and Marsellus (the gangster who wants him killed) end up in a pawnshop... and the owner locks them in his basement, calls his partner to rape one, and it's heavily implied both would be beaten and\or killed if Butch didn't manage to break free. Although Marsellus himself could also be seen as a shade of black (not literally), since he is an unrelenting crime boss whose only redeeming quality is (grudgingly) sparing someone who saved his ass. (literally) His wife is also pretty nice, if a bit of a sociopath.
Django Unchained has an ice-cold former slave with the singular goal of rescuing his wife and getting revenge pitted against a highly sadistic slaver and his loyal colleagues. Dr. Schultz is the closest thing to A Lighter Shade Of Gray, but he is also a ruthless bounty hunter willing to do whatever it takes to get the bounty.
Reservoir Dogs is another example, with the exception of Orange everyone of import is a criminal, but Mr. White and Mr. Pink draw distinctions between themselves (who try to avoid killing people if at all possible, but will if they must) and Mr. Blonde (who goes on a senseless killing spree during the heist)
Inglourious Basterds (though it may seem downplayed, dealing with Nazisand whatnot). Nevertheless, the title characters do have their moments of excessive violence, perpetrating what would amount to war crimes against their enemies. The fact that the German soldiers themselves have a few Punch Clock Villains in the mix doesn't help matters either.
The Hateful 8 features ruthless bounty hunters as the protagonists, one of whom claims to have raped another character's son, though it's implied that he's just claiming that to provoke said other character into drawing first so he can claim self-defence. It's still treated as a Moral Event Horizon. The villains are even more ruthless criminals who slaughter the entire workforce and guests of Minnie's Haberdashery in an attempt to free the sister of the gang leader. The only unambiguously good characters in the film died before the first act; their deaths are depicted in the fifth act.
Goodfellas: Henry Hill is a proud gangster who never kills anyone and is sympathetic through most of the film, but his associates and enemies are nasty customers.
City of God. While narrator Rocket opted to stay out of the slum crime scene, most of the characters are criminals - some by choice, others because the mean ones forced them to Pay Evil unto Evil. The police is mostly absent and often corrupt.
The Proposition — The protagonist is a notorious criminal who is forced to kill his psychopathic older brother in order to save his innocent, mentally handicapped younger brother. The younger brother is a rapist. The cops are thugs stuffed into uniforms. And the governor's a Smug SnakeKnight Templar. However, the captain and his foolish, but innocent wife are probably the closest things to "white" in the movie. And the ending is bittersweet, which is as cheery as you're going to get with a screenplay by Nick Cave.
In the Blade movies, the protagonist has little empathy for anyone's feelings, perfectly willing to use his own unsuspecting civilians as bait and kill punch clock villains begging for their lives. He does not kill without reasons though and is defending humanity from those that would use it as a source of cattle.
In the Underworld movies, vampires and werewolves are at war and the werewolves lean slightly closer to what most humans would call "decent" when A Father to His Men united them. Then that guy dies and the conflict degenerated into two rival take over the world conspiracies. The vampires had mentally unstable bad bosses, who were also partly why the werewolves looked slightly better. Once those were done away with, all things were equal, morally speaking.
Payback is all about an Anti-Villain getting revenge on even worse people for setting him up. The cinematography emphasizes dark colors, cloudy skies, etc.
The James Bond movies Casino Royale (2006) and Quantum of Solace explore this, with Mathis even giving a short speech about heroes and villains being indistinguishable in far too many cases, and many bits of the latter shed light on the extents to which governments and agencies have to go to in order to ensure their continued survival. Still, Le Chiffre, Greene and Quantum are all evil, no doubt about it.
A number of comedies in the late '70s/early '80s (e.g., Animal House,Caddyshack,Stripes) centered on a group of rakish loser protagonists aligned against cleaner-cut but authoritarian antagonists. The tagline for Caddyshack, for example, was "The Snobs Against the Slobs." While the viewer will almost certainly find himself rooting for the losers, these are not people you would trust around your kids.
The Infernal Affairs films, spectacularly. Wong appears to be mostly White in the first film, but then you get hit by the prequel...
In Captain Berlin - Savior of the World the titular hero foils a bank robber and knocks him unconscious but he is unable to return the money to the bank as his life of heroism leaves him no chances to earn money and afford more than the most basic food and shelter
this can also be taken as a commentary on the state of Berlin and german society as during the production of the movie Germany struggled economically and was parted into west and east, so while Captain Berlin knows what is the right thing to do he still had to take care of himself as to not let society fall down further the rabbit hole of chaos and villainy
In the Loop is ostensibly about the backroom sausage-making behind a war in Iraq an unnamed Middle Eastern country, though the real focus is on epiclanguage. Proponents of the war are depicted as clueless, cavalier bureaucrats with zero appreciation of the consequences of what they are doing. Meanwhile the opponents are shameless weasels, mostly interested in milking it for political favors.
Most Guy Ritchie crime films, especially as even the main characters/protagonists tend to also be crooks, usually matched up against other, worse ones. Not counting the mandatory Ineffectual Sympathetic Villains, lets look at some characters from several of Ritchie's works:
Lock, Stock & Two Smoking Barrels. The main characters are a group of street hustlers, con men, and gamblers. There are two groups of least sympathetic characters: the underworld bosses that cheat them in a card game, and whose entire purpose for this is to get the father of the character that they cheated to sell his pub so they can buy it cheap, and a group of brutal crooks who steal from, torment, and shoot the pot head marijuana growers who trust them.
Rock N Rolla. The most sympathetic characters are Archy, Johnny Quid and the Wild Bunch. Archy is The Dragon for an underworld boss who kills or beats people without hesitation. Johnny is a drug addled rock star who routinely steals from people, (and threatens them with a knife if they protest) hands out No Holds Barred Beatdowns to bouncers who try to stop from getting into clubs, (and keeps going long after they have stopped being able to resist) and constantly physically and verbally abuses the people around him. The Wild Bunch are a trio of career criminals. The least sympathetic character is Lenny, (Archy's boss and Johnny's step-father) an arrogant man, abusive father, Politically Incorrect Villain, a crime boss who lowers victims into water to drown/be eaten alive by voracious crayfish, rips off the people who make deals with him so that he can get them in his debt, and has secretly given testimony that has put most of his men and partners into jail at one time or another in order to save himself from prosecution.
Snatch.. The most sympathetic characters are Turkish, Tommy, and the Irish Traveller clan. Turkish and Tommy are shady characters in the London underworld who run unlicensed boxing matches, gambling houses, etc. Turkish in particular is a rather cutting Deadpan Snarker. The Travellers participate in the sale of fake gold and jewels, rip off their business partners in transactions, then intimidate them with force, and at one point consider killing Tommy over a misunderstanding. The least sympathetic character is Brick Top, who routinely kills off his mooks, brutalizes dogs and puts them into lethal dogfights, kills people and feeds them to pigs to dispose of the bodies, sets fire to the caravan of one of the gypsies (burning her alive), and threatens to wipe out the rest of the clan if they don't cooperate with him. Mickey, though, seems to be portrayed as a lighter shade of grey.
The Villain Protagonists in The Final are a group of teenoutcasts who torture and mutilate their school's popularkids as revenge for a lifetime of humiliation. As one can figure from the last sentence, neither side in the situation is all that nice. The only real "good" guy is Kurtis — and that's pushing it, seeing as how he kills Andy in cold blood.
The Professional. It's a hitman who relucts about giving shelter to a girl (who is not that pure either) versus a drugged and corrupt policeman willing to kill anyone.
Star Wars Episode III: Revenge of the Sith alludes to Black and Gray by hinting that the Jedi Order were on the brink of falling to the Dark Side as they tried to take over the Coruscant court for themselves even though their intention was to eradicate the Sith Lord from ruling the galaxy.
The entire prequel trilogy was this, showing that despite what you were taught by the old trilogy the Galactic Republic and the Jedi Order predating the Galactic Empire were not without their flaws. The senators of the Republic were influenced by lobbyists who worked for greedy mega corporations that due to their bribes could drive over the rules for their own profits' sake, and the petty political powerplays within the Republic made it incapable to solve crises like the invasion of Naboo. The Jedi Order had a lot of members who thought themselves self-importent, and some members weren't afraid to bend the rules or cheat to get what they wanted. And by the time of the Clone War, there was some distrust between the Republic and the Jedi Order so that both tried to use Anakin to spy on each other. On the other side, there were these said mega corporations that became unhappy with Supreme Chancellor Palpatine's acts to clean the Senate free from their lobbyist influence, and in response made their own political organization and tried to break off the Republic, leading to the Clone War. Turned out that both sides were being played by the Sith.
The original trilogy's Black and White Morality is changed to this in Rogue One, for focusing on "war in the stars" aspects. The Empire, totalitarian, ruthless and dictatorial, is still the worst side. But the Ragtag Bunch of Misfits Rebel Alliance are shown to be an Army of Thieves and Whores with some extremist sides, at least until the Battle of Yavin changed their fortunes. One of the main characters kills his informant, is given hidden instructions to kill the man his squad is supposed to rescue (he changes his mind... but the higher-ups still send an air strike upon the target), and later admits that everyone in the Alliance's hangar has commited some terrible things in their past.
Narc follows the story of two detectives who are trying to solve the case of a cop who they believe is murdered in cold blood. Although some of the people they question and interrogate are bad people, the film often shows the corruption and willingness to break the rules of the two main characters.
The Wild Bunch stars a gang of seasoned bandits, who routinely kill a not inconsiderable number of people in the course of a heist, and have no compunctions about using little old ladies as human shields. They look alright compared to the folks they go up against, though.
The hero of The Chaser is a dirty detective-turned-pimp who's less than friendly towards his women. He comes out better compared to the film's villain, a sadistic and misogynistic serial killer.
Escape 2000: the heroes are a pack of gang members and hoodlums, whose efforts to keep the Bronx safe for drug dealing and petty crime only come out looking heroic because the bad guys are killing people with flamethrowers more or less indiscriminately.
Film Noir generally lives off of this type of morality. After all, it's not called "noir" for no reason.
In Lord of War, arms dealer Yuri Orlov himself is amoral and indifferent to the death he causes with his trade, but he is nowhere near as bad as his client Andre Baptiste, who is an insane dictator who murders people on a whim, allows his cannibalistic son free reign and engages in bloody civil wars. The staunchly heroic interpol agent Jack Valentine is pretty unambiguously good, so the movie doesn't necessarily imply that there is no white morality. It just suggests that the good guys aren'tveryeffective. Or affable,comparatively.
By the end of The Prestige, both lead characters have innocent blood on their hands, whether due to obsession with revenge, or due to single-minded pursuit of their Greatest Magic Trick Ever.
At the end of Schindler's List, Oskar Schindler reminds the people he saved (and us, the audience) that now that the war is over, he'll be a wanted criminal for profiteering from slave labor. Early in the movie, we see that he's not a particularly good man. But he's willing to bankrupt himself and risk his life to protect his laborers from murderers.
The Good, the Bad and the Ugly has hints of this, as a result of its deconstruction of Westerns. (Especially how if a region were really as lawless as Western movies make out and had untouchable Gunslingers, those gunslingers would be free to do just about anything without having to answer to anyone.) The eponymous three characters are: an antihero con artist, a merciless Professional Killer who is practically the personification of cold blooded ruthlessness, and an all-around cad, respectively. Its "good guy" is still fairly sympathetic though, mostly because of one or two Pet the Dog moments sprinkled in a three hour movie. (That said, the cad is probably the most likable character in the film, in a Laughably Evil sort of way.)
The Godfather series is also a milder case, with the highly sympathetic Corleone family pitted against their rivals.
Pirates of the Caribbean (moreso in the sequels). Will and Elizabeth are slowly turned into lying, stealing, killing pirates, although all in the name of saving their skins from the undead and the corrupt. Jack Sparrow is a bullseye grey Anti-Hero who cares enough about freedom to free slaves (Back Story) and save his friends, but cares more about himself than anything. It tries to avert the trope by having the gray villains and harmless lackeys around. But then there's Beckett, the epitome of repressive order and the only person in the whole trilogy (except his Dragon, Mr. Mercer) you can properly hate, who kicks various dogs and doesn't stop for two movies.
In Dracula Untold, Vlad makes a deal with the Elder Vampire (who himself made a deal with a demon) for demonic power to save his people and and his gruesome past is told as having razed villages and impaled thousands in the past feeling nothing. He admits his monstrous past and is ashamed of it, but all of his evil deeds including becoming a vampire are to prevent something worse from happening. The Sultan Mehmet plans to conquer all of Europe, force religious conversion, and demands a thousand boys including Dracula's son so they can be turned into soldiers.
The British in Utu are the villains who started the war by massacring defenceless villagers, but the Maori rebels commit many atrocities of their own against the white Determined Homesteaders.
All Dogs Go to Heaven: Charlie B. Barkin is an Anti-Hero who starts out manipulative and gradually learns to mend his ways and ascend to Heaven, while Carface is unambiguously evil.
Wizards: Blackwolf is unambiguously evil, while his twin brother, Avatar, despite being the hero, is flawed.
Guardians of the Galaxy: The Big Bad is a genocidal slaver who bathes in the blood of his opponents and slaughtered an entire prison population just to cover his tracks. The "heroes" range from petty criminals to assassins, who are more interested in personal gain rather than saving the world. Yeah they become genuine heroes in the end, but their criminal tendencies still shine through.
Rocket: Question: what if I see something that I wanna take and it belonged to someone else?
Rhomann: You would be arrested.
Rocket: But what if I want it more than the person who has it?
Rhomann: It's still illegal.
Rocket: That doesn't follow. No, I want it more, sir, you understand me? [Gamora walks off with him] I can't have a discussion with this gentleman?
Drax: Say someone does something that irks me, and I decide to remove his spine.
Rhomann: Th-that's actually murder, one of... the worst crimes of all. So, also illegal.
Phil in Savages Crossing is a psychopathic serial killer, gambler and wife beater who wants to murder his wife and take her house. Sue hires a hitman to kill him and claim his life insurance.
Just about everyone in The Big Short qualifies. While the big banks are undeniably the villains of the movie by fraudulently selling risky CDOs as secure investments, the protagonists are motivated simply to make money by betting against the banks' greed and stupidity.
Jared Vennett: I never said I was the hero of this story
Ben Rickert calls out his teammates about it when the two start dancing over the deals they made.
Ben Rickert: Do you realize what you've done? You've bet against the American economy.
Explicitly stated by the S&P officer, who points out that the main reason Baum's group want them to rate the CDOs more accurately is because they stand to make a huge amount of money when the CDOs collapse.