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Murder, political intrigue, espionage, conspiracy, manipulation, gaslighting and, of course, crime. Lots of crime. Enjoy — and hold on tight. Of course, making a movie this effortless is hard work. And the cast? The killer moment: It has to be the crop-duster sequence, which begins like a Western standoff and ends with the suavest man in cinema face down in the dirt.

Berlin's most moneyed and celebrated director, Fritz Lang, was drawn to the subject, which would become the spine of his first sound film, in many ways the commercial birth of the modern psychothriller. M is cinema's darkest landmark: a portrait of awful appetites that was revolutionary for also being an oblique mirror on society at large.

The movie is immortal for Peter Lorre's career-defining performance as Hans Beckert, trapped by sweaty urges and a dragnet of cops and mobsters. The killer moment: In front of a wanted poster, a dark silhouette appears. The absolute zenith of New Hollywood's s-era adventurousness it was all downhill from here , Roman Polanski's majestic conspiracy thriller is the ultimate L. But for all the movie's substance, it took a rascally Jack Nicholson, an absorbingly skittish Faye Dunaway, a fearsome John Huston and Polanski himself working at the peak of his powers to sock it over on audiences.

The movie shimmers like a '30s period romance but its veins pump black bile: a toxic masterpiece. The future! Welles swaggers through the film with cool self-assurance and delivers many an iconic line in his famous baritone. The killer moment: After riding the wheel, Welles makes his famous quip ad-libbed on the day , comparing violent Italy under the Borgias with peace-loving Switzerland.

The cuckoo clock. But like household ingredients blended to make a bomb, the result was incendiary. It was star Charlton Heston who lobbied for Welles to be handed the directorial reins, and who backed him — at least initially — against interference by the studio, Universal.

The result was an impossibly rich Welles movie that could be held up to Citizen Kane : a brutal, explicitly sexual crime story; a satire on race and prejudice; a sad-eyed lament for wild pre-conformist America; and one of the most gorgeously directed films of all time — even the dialogue scenes play like ballet. Not that Universal noticed. Unconventionally finding its saviour in the shoes of a female law enforcer — FBI trainee Clarice Starling Jodie Foster, blending strength and vulnerability — The Silence of the Lambs divides its terrors between grotesque moths, a blood-curdling butcher of women and the cannibalistic Dr.

Hannibal Lecter Anthony Hopkins , a nightmarishly manipulative collaborator with a taste for liver and fava beans. The killer moment: Using night vision, Buffalo Bill pursues Clarice in the dark. In the seconds that follow, no one dares to breathe. How about the hero, then? A creepy boarding school, a monstrous headmaster, his quietly fed-up wife, another disgruntled lover — thrillers rarely come better stocked for suspense.

Clouzot uses every device at his disposal: eerie corridors, grimy swimming pools, ear-splitting kids. The result is a truly scary thriller that influenced Psycho. Scraping up against the limits of knowability, David Fincher's mind-blowing crime thriller targets the truth itself as a serial killer's final victim.

Zodiac is the definitive movie of its troubled decade, showing us good men thwarted by the elusive spirit of a murderous ghost. The killer moment: We're seated in a break room with a creep who's full of unsettling excuses the ominous John Carroll Lynch. His watch has the killer's target symbol on it, but that's not enough for these cops to pounce. Film noir's most unsettling nightmare ends in a flaming nuclear disaster — and if that anxiety weren't enough, there's also off-screen torture, ferocious desk-clerk slapping and the casual destruction of a beloved opera record.

Robert Aldrich's perverse masterpiece brings Mickey Spillane's vicious Mike Hammer a grinning Ralph Meeker to life: a vain bottom feeder prone to using his fists. He's the sourest of antiheroes. Los Angeles has made him that way. Soon enough, she's hovering over the most influential suitcase in movies see also Pulp Fiction and Repo Man , one she can't help but open. Hollywood wishes it could make thrillers this perfect every summer, movies that have Harrison Ford leaping off a dam, and that also get Oscar-nominated in major categories.

For all its acclaim, The Fugitive is still underrated: it's as definitive a Chicago picture as they come and we're talking a bruising Windy City winter ; it contains a brilliantly cranky depiction of dogged investigation in Tommy Lee Jones's Gerard; and it turns the whole of moviemaking into an expertly calibrated double chase.

The killer moment: A stairwell pursuit leads to one of Richard Kimble's cleverest escapes. Playing Judy Barton — or is it Madeleine Elster? Scorsese brilliantly showcases a troubled mind in a way that makes the audience hold its breath. Here's the pivot point for David Fincher — the inflection at which he transitioned from being a maker of super-stylish Madonna videos into something more substantial.

Seven certainly delivers a signature gloom, from those powerhouse opening credits to its rainy urban hellscape. But beyond the gloss, the movie feels as subversive as a Fritz Lang thriller, indicting the police as thoroughly as it does its moralising serial killer. Andrew Kevin Walker's script contrasts theoretical bookishness with impulsive action, but Fincher's genius is to show those modes for what they really are: survival strategies that only get you so far.

In the wake of the Joseph McCarthy hearings, filmmakers knew they had just as much to fear from their own government as they did from some shady foreign power. The Manchurian Candidate is the clearest expression of that anxiety, a razor-sharp study in manipulation filmed in stark monochrome, a paradox for a movie in which nothing is black and white. Francis Ford Coppola makes art out of paranoia in this tense mystery starring Gene Hackman as Harry Caul, a surveillance expert who becomes obsessed with a recording that ultimately wreaks havoc.

The killer moment: Rewinding audiotape has never been as compelling as it is here, when Harry listens to his recording again and again until a pivotal line becomes clear. An accident results in the most expensive baggage-check fee ever levied. Film noir comes to France the country that first invented the term for a specific kind of Hollywood thriller , as blacklisted American director Jules Dassin turns out a flawless Paris-shot thriller on a budget of about ten centimes.

Rififi laid out the ground rules for the heist movie: a mismatched gang, an intricate plan, a grindingly tense break-in and, of course, a disastrous final act in which it all falls apart. Humphrey Bogart and Lauren Bacall bring their legendary charisma to a convoluted tale of criminality filled with noir intrigue.

The killer moment: A sexually charged bookstore encounter between Bogart and a bespectacled clerk the unforgettable Dorothy Malone is just as invigorating as any of the wider mysteries presented elsewhere. The killer moment: Finally, we see the killer a menacing Raymond Burr — and in a hair-raising flash of identification, he sees us too. It follows the true account of an attempted bank robbery on a red-hot summer day.

With uncompromising tension and flashes of humour, it also examines the ever-exploitative American media that loves a good circus. Many thrillers are beloved; some have become classics. But only one can claim to have kicked off a five-decade-and-counting spy franchise grossing billions of dollars worldwide.

The killer moment: So hard to pick. Is it our first sight of those gun-barrel opening credits? The first use of the twangy guitar theme? The premise itself is a thrill: A jaded photographer David Hemmings may have captured a murder in the background. The killer moment: Come for the murder, stay for the greatest mime scene in film history: a tennis game with an imaginary ball. If they make it, they get big money. But as the jungle closes in around them, the clammy hand of fear exerts its grip.

The killer moment: In the blink of an eye, half the cast is wiped out. The rest press on regardless. It begins with a mystery — drunk salaryman Dae-su Choi Min-sik is abducted and imprisoned for 15 years, seemingly without cause, before emerging both deadened and deadly — and spirals into a labyrinth of seriously bleak secrets. The killer moment: Hammer time! The one-take corridor fight has been much-imitated but never bettered. Taking its title from a Casablanca quote, The Usual Suspects blends old-school Hollywood style with a modern playfulness and unpredictability, weaving a web of crime, coincidence and flat-out lies.

The shoe is just about to drop. On top of a list of brilliantly twisted European thrillers that got really bad Hollywood remakes Diabolique , Open Your Eyes , etc. It follows Dutchman Rex Gene Bervoets as he tries to uncover the fate of his girlfriend, Saskia Johanna ter Steege , who disappeared from a rest-stop service station years earlier. The ending is a jaw-dropper. The killer moment: A psychopath practices his abduction techniques, even going so far as to chloroform an imaginary victim in his passenger seat.

But the undertones are grotesque and still challenging: a story of sexual exploitation, murder, manipulation and state-sanctioned cruelty. A genius orchestrator of meandering conversations, Robert Altman left behind a string of classics, from Nashville and 3 Women to The Player and Gosford Park. You, I don't even like.

Takedown is a little bombastic and some of the performances are bigger than the Hollywood sign. But as it skitters toward that epic denouement, you can only marvel at the elemental power Mann conjures from his simple story of cop Al Pacino and robber Robert De Niro. The killer moment: Two titans of crime movies, Pacino and De Niro, meet for the first time onscreen: an elegantly simple diner chat loaded with subtext.

Along with Bonnie and Clyde released only two weeks earlier , Point Blank signals the moment at which Hollywood boldly leapt into sex, violence and a new kind of radically disjointed storytelling. The killer moment: The granddaddy of hallway scenes has Marvin striding through a nondescript office.

His heels echo hypnotically and Boorman takes off, cutting away from the action but never losing that forward momentum. The killer moment: Oh, so the puppet in Saw scared you? Poor thing. Wait until you see this guy, wheeling out of a dark corner with a canned laugh.

Taking place over the course of a single night, this grim story of a murder plan gone awry holds us rapt, thanks in large part to the glamorous yet weary visage of screen legend Jeanne Moreau. Hitchcock rated this blackly comic suburban thriller as one of his very best, and who are we to argue?

The sweat-soaked feature debut of the Coen brothers hints at much of what would come: the half-smart schemers of Fargo , the explosive violence of No Country for Old Men and — making her first screen appearance — Frances McDormand, a force of nature. Blood Simple is still scrappy and surprising: a Texas-shot thriller of limited means but maximum punch, and an indie that still plays beautifully decades later.

The killer moment: In a sweltering office filled with the sound of crickets, the gun goes off. Excruciatingly we watch dark red trickle down a white shirt. This Martin Scorsese-produced, Stephen Frears-directed black comedy is one of the strongest adaptations of his work. John Cusack plays the lunk in question, a con-man who thinks he can get one over on his own mother, played with delicious savagery by Anjelica Huston. Based loosely on actual events, the film brought a bracing verisimilitude to the cop flick, as Popeye bellows and brutalises his way through a criminal fraternity.

The sequel is every bit as good. The film is bolstered by a number of high-strung set pieces; its combination of slasher-flick imagery, political intrigue and tragedy is intoxicating. Pure panache and an admitted inspiration on such nobodies as Jim Jarmusch, Walter Hill and John Woo, Jean-Pierre Melville's cryptic thriller channels an almost abstract sense of fate and beauty.

If you liked Drive , you've got homework. At its core is actor Alain Delon's hitman: trenchcoat-clad, chiseled, a dude of few words. He glides through the film as if doomed; there's not an inch of fat on this plot, which never get sentimental, only colder and more aggressively on target. The killer moment: Delon's assassin cruises on and off several Metro lines, even jumping a moving walkway to shake several different pursuers. The guy is smooth. In his most honest and heartfelt performance, the late Bill Paxton plays Dale Dixon, a small-town sheriff who dreams of escaping to the city.

When word comes that a gang of notorious killers are headed his way, Dale tools up for battle, High Noon -style. The killer moment: The opening home invasion is still shocking in its offhand brutality. A decade before his class-warfare masterpiece Parasite struck a global nerve, South Korean auteur Bong Joon-ho tapped his inner Hitchcock with this small-scale whodunit. Like its protagonist, the film is unafraid to explore the dark recesses of society, following Mother through a labyrinth of desperation, dead ends and, eventually, moral decay.

But the greatest trick Bong pulls is forging an unquestioning empathy for the family at its center, even as things take an impossibly dark turn in the third act. The killer moment : Mom takes a well-earned bus tour to the countryside and samples her own medicine as the credits roll.

The main accusation leveled at Bigelow — that she condoned the use of torture in her depiction of the hunt for Osama bin Laden — is hardly borne out in a deeply unmisty-eyed look at U. Only Welles could pull off this literal fracturing of the image so confidently. The allegedly Buddhist opening epigraph is fake writer-director Jean-Pierre Melville simply made it up , but the sense of Zen purity that runs through this flawless French heist movie is wonderfully convincing.

As lean and meticulous as Japanese calligraphy, this is precision-tooled filmmaking. The killer moment: The silent robbery sequence is a minute master class in sustained tension. This brutal, rug-pulling revenge classic ushered the way for the likes of Chinatown and L.

Mercifully, it happens off-screen. Plus, it introduced the world to the cricket-obsessed comedic characters Charters and Caldicott, who went on to many more films and even a TV series. Villeneuve mounts spectacular set pieces the convoy sequence, shot by the great Roger Deakins, is a pulse-pounding standout , while also painting a bleaker picture of the lawless badlands than even Trump can muster.

Brian De Palma burnishes his Hitchcock fixation to a high sheen in this supremely confident New York City-set thriller, which features something of a surrogate character for the director himself: a teenage tech whiz Keith Gordon obsessed with cameras and spying devices who's bent on avenging the unsolved murder of his glamorous mother Angie Dickinson.

Trans movies have come a long way since this one. The killer moment: It's one of De Palma's purest sequences of total craft: a wordless flirtation between two strangers at the Metropolitan Museum of Art actually shot in Philly that becomes a missed connection, a painful rejection, then a chase. The dramatic world of ballet is fertile ground for an exploration of professional jealousy and obsession.

The killer moment: Warring prima donnas grapple in an intense, shape-shifting fight scene. With such over-the-top delirium, who could ever think of ballet as prissy? The Godfather and Goodfellas play more like studies in power than straight-up thrillers. The killer moment: The unbearably suspenseful Battleship Potemkin -homaging Union Station shootout still sends our systolic readings through the roof.

A treatise on the act of remembering, a study in loss and grief, and a story told both backward and forward, Memento ought to be impenetrable: a movie for the art house, not the multiplex. Huge respect is also due to leading man Guy Pearce, who at times seems to be holding the whole project together through sheer force of will. Where is Linda Fiorentino these days? Watching her sleek seductress Bridget double-cross an abusive husband and manipulate her naive small-town boy toy with a playful shrug is a turn-on in itself.

Jane Fonda gives an iconic performance as Bree, a prostitute who finds herself involved in a missing-person case being investigated by the titular detective Donald Sutherland. The killer moment: Late at night, Bree lies in bed as her phone rings and rings, and the camera zooms out slowly. Never discount our need to laugh, especially when thrillers are involved. Nick and Nora Charles — crime-busting couple, doting dog owners and constant drinkers — are two of the wittiest creations to ever grace the genre.

William Powell and Myrna Loy were never better than they were in this film and its sequels. One might erroneously call The Thin Man a light entertainment but can you find a more romantic depiction of a working partnership, sass and all? The killer moment: All the murder suspects are gathered at a dinner table, as Nick holds court in a big reveal that goes sideways.

Want conflict? Take your pick between man vs nature, man vs hillbilly and man vs self. Humphrey Bogart is a Dixon Steele, a tempestuous screenwriter who may have committed a murder in this Hollywood-set slice of noirish excellence. Dixon and his neighbour turned lover, Laurel Gloria Grahame , make for a compelling and tricky pair, and the fog of moral ambiguity that surrounds them keeps us on our toes until a dramatic final twist.

I died when she left me. I lived a few weeks while she loved me. As Hitchcockian as ultra-chic blondes come, the rough-edged murder suspect Catherine Tramell made Sharon Stone an ageless star overnight. With her husband Sam Neill stranded on a distant sinking boat, our flame-haired heroine gets resourceful, with plenty of shocks along the way.

The killer moment: Husband and wife, each in an unstable vessel, attempt to communicate by radio and every word, barely heard, could be their last. Ultimately a breaker of one of the most central tenets of the home-invasion thriller no telling , Michael Haneke's sickening landmark of pure nihilism remains the hardest of his films to squirm through — and this is the guy who made The Piano Teacher.

Advice: If a pair of preppy strangers appears at your door asking to borrow some eggs, turn them away. Haneke truly believes in indicting our bloodlust; he remade this film, shot for shot, with Naomi Watts in A cultural depth charge of vigilante-cop brutality, neo- High Noon cynicism and an extra long.

It also made a huge star out of Clint Eastwood, hardened into iconic fury. The third Dr Mabuse film came nearly 30 years after The Testament of Dr Mabuse and more than four decades after the malevolent medic unleashed his first foul scheme in Dr Mabuse: The Gambler. Director Fritz Lang dispenses with his anti-Nazi allegories to craft a byzantine story in which the not-so-good doctor Wolfgang Preiss has every room in a hotel under surveillance.

With gadgets aplenty and paranoia rife, it feels like a forebear to a whole generation of techno-thrillers: Enemy of the State and even, dare we say it, Sliver. A high-angle shot isolates the suddenly motionless car. Its essential theme — the need to seek the truth — exemplifies the chaotic, activism-defined moment in which it was released, and rings urgently true in our era of fake news and government corruption.

The killer moment: Right-wing thugs in a truck speed toward a circle of protestors and beat a peaceful politician with a club. The killer moment: A cable-car fight is an exercise in white-knuckle excitement, despite looking like it was rear-projected in the MGM parking lot.

A central piece of Watergate-era thrill-mongering, The Parallax View joins director Alan Pakula's earlier Klute and later All the President's Men in a trilogy with no equal for state-of-the-nation gloominess. Warren Beatty plays a crusading reporter who takes a deep dive into a secret organisation of political assassins; unwittingly, he has no idea how much they'd like to welcome him among their ranks. The killer moment: Beatty's Joe Frady goes for an interview: He's led to a screening room where, Ludovico-style, he's subjected to one of the most radical silent montages ever presented by a Hollywood film.

Two men meet, entirely by chance. The result is witty, strange and endlessly fascinating. The thrills here leave a high body count, but are tempered by a sizable dose of existentialism, and the reliably great Isabelle Huppert brings welcome mischief to the role of a young mistress. Quentin Tarantino tipped his hat to these villains — Mr. Blue, Mr. Green, Mr. Grey and Mr.

Brown — in Reservoir Dogs. Unforgivably, the Tony Scott remake ditched the brilliant final twist. This French-language adaptation of her signature novel The Talented Mr. Leading man Alain Delon is stunning in his first major role, perhaps the epitome of male beauty on screen. The killer moment: The shocking first murder: sun, sex and premeditated stabbing. Tokyo, A heat wave rips through the city, and a rookie policeman has his gun stolen by a pickpocket on a crowded trolley.

Shamed into action, he pursues the weapon across the city, uncovering a major gun-running ring. The killer moment: A spooky raid in which Richard wears a nightmare-inducing gas mask is straight out of an Otto Dix painting. Funny Games director Michael Haneke understands the hidden guilt of the blissful bourgeois, tormented by outside forces — in this case, an unknown stalker with a camera. Like a DVD-bin thriller given a massive jolt of quality, Kill List takes the basic elements of low-rent Britcrime-bickering hit men, a shady aristo crime boss, dreary suburban locations — and transforms them into art.

With its improvised dialogue, pin-drop sound design and shocking violence, the result is terrifying, occasionally frustrating and utterly compelling. Hounded out of the U. As Frannie, a teacher who becomes entangled with a detective investigating a series of murders, Ryan is basically the opposite of a cute rom-com heroine, and Campion creates a world of sexual menace, thick with violence yet never played for exploitation.

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The result is a personal saga that is the stuff of mythology. Uma Thurman is the nameless protagonist who virtually rises from the dead to seek a vengeance of desolation and mutilation. A perfect blade is fashioned for her mission, and it amplifies her lethality. Thurman gives a multi-leveled performance full of emotion and cold determination. She faces some strong adversaries and their minions, and she suffers through the terrible toll of her quest.

Stylistically, KB plays with slo-mo, bold colors, silhouettes, and "Crouching Tiger" physics. Tarantino uses angles and viewpoints effortlessly. In one of the film's best moments, Thurman faces off against Lucy Liu, circling to the strains of Santa Esmerelda's introduction to "Don't Let Me Be Misunderstood"one of the greatest dance tracks of all time.

In a less subtle scene, she takes to the dance floor in a break-dance killing frenzy to "Nobody But Me" by the Human Beinz. A major question for each viewer is: how much gore is too much? Tarantino never shies from depicting carnage and dismemberment. In fact, he glorifies it in this film which, for my sensibilities, is an unnecessary distraction and a tasteless extravagance.

In one scene he creates a literal bloodbath bath of blood. Consequently, this film is not for everyone. Kill Bill: Vol. I've never seen anything quite like it. My commentary for this film is almost all positive. First off, the cast really blew me away, each and every actor did a great job with their respective roles. Uma Thurman is a terrific actress and she was definitely the right choice to play the lead character. Thurman commands this role and you are transfixed by her in every scene she's in.

It's not just the action sequences that she is great in, she's just perfect for the role all around. And it wasn't just her that I loved, I also liked Vivica A. Fox, Daryl Hannah, and Lucy Lui. They all showed off their acting chops here, especially Fox, I personally loved her short time she's in the film. The writing is well done, I especially enjoyed Thurman's dialogue, the well written dialogue and the impressive way that she delivers that dialogue all comes together to make something great.

I think most movie goers will enjoy this acclaimed movie, as long as they're not too conservative that is. I say that because the violence is truly graphic and very bloody, but in a strange way it kinda works for this one. I'm usually not a big fan of that, but here it works. Good job Tarantino! Just saw Kill Bill: Vol. Here is a craftsman or artist, if you prefer at the top of his game. Some of the shots are simply incredible; the score is, for the most part, vintage Tarantino selections- and the RZA does a very good job at filling the blanks; Uma Thurman is a great female lead, for sheer presence and decent acting chops.

Even Lucy Liu, who I expected was going to re-hash her Charlie's Angel character, burst on the scene like a flaming nunchuck. The stringing together of the scenes was impeccable. The transitions, the intercutting between dialogue, the flashbacks I simply could not get enough.

Tarantino IS, indeed, having fun here.

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