Here are the 30 best thrillers currently streaming on. The 30 Best Thrillers Streaming on Netflix. Movies Watch Meryl Streep's Show.20+ Best Korean Crime Thriller Movies You. Crime Thriller Movies for you to watch. Definitely Watch - 14192 views; 40+ Best Horror Movies Based On. Top 20 Best Thriller Movies 2011. It looks pretty intense. In other words, watching a really suspenseful thriller actually changes your physiology. So if you’re looking for an exciting night but also don’t really feel like leaving the comfort of your couch, Netflix has you covered. Here are the 3. 0 best thrillers currently streaming on Netflix. Blue Ruin Year: 2. Director: Jeremy Saulnier. This dark revenge tale flaunts its small- town strangeness, but it also keeps a sharp eye on the human beings at the story’s center. Putlocker Free Movies Free Movies Online Watch Movies Online Free Putlocker. IMDb, the world's most. Amazon Prime members can watch thousands of movies for free. Blue Ruin may occasionally be midnight- movie lurid, but not at the expense of deeper questions about vengeance’s diminishing returns. When we first meet Dwight (Macon Blair), he’s a bearded homeless man. Dwight seems disheveled and purposeless—maybe even mentally ill—but he soon learns that Will Cleland (David W. Thompson), a convicted murderer, has been released from prison. Promptly, Dwight travels to his Virginia childhood home to see Cleland, though not to welcome him back. As we quickly realize, it was Dwight’s parents whom Cleland killed, and he’s not willing to forgive the man even though he’s served his time. In a different movie, Dwight’s journey to avenge his parents’ death would be the focal point. But in Blue Ruin, writer/director/cinematographer Jeremy Saulnier continuously upsets expectations. It’s a fine line that Saulnier walks, catering to the B- movie crowd with intelligence and feeling. Shocking bloody violence and tense suspense sequences are delivered with grindhouse precision, but because Blue Ruin initially throws us off by confounding our assumptions of who Dwight is, we’re compelled to look closer at all the movie’s characters, wondering what sides of themselves they’re also concealing.—Tim Grierson. The Hunter Year: 2. Director: Daniel Nettheim. Pensive and patiently paced, The Hunter is the story of an outsider in a perilous world where, amid a mission of crime, he entangles himself in the lives of a woman and her children, experiencing love and compassion for perhaps the first time. By film’s end, the tale has become a grand and gripping moral dilemma that plays out not as poetic justice but, instead, as divine grace. A grave and grizzly Willem Dafoe plays the outsider—the Hunter—a loner named Martin hired by a pharmaceutical corporation to track down the last Tasmanian tiger. Martin, a skilled and ruthless marksman, takes the job like any other, but upon arriving on the Australian island of Tasmania, he realizes that something isn’t right: The family with whom he stays suffers in the aftermath of their father going missing. The island stands divided between greenies and loggers. The locals threaten his life. Given the premise and setting of The Hunter, Nettheim has every opportunity to turn his film into a political lecture about the preservation of nature; instead, he keeps the environmental issues secondary and focuses on the story at hand. The Hunter showcases Nettheim’s ability to tell a story effectively, grounding it in humanity, while also exhibiting the director’s real sense of scale visually, as he brings his tale to the screen with magnificence and grandeur. Excitingly, the young director also emerges as an optimist, giving us a buoyant and riveting finale.—David Roark. A Hijacking Year: 2. Director: Tobias Lindholm A Hijacking delivers all the thrills the title suggests, but in none of the places you’d expect them. Even the hijacking—the most obvious candidate for a set piece—happens off camera. The movie depicts a volatile situation that could go wrong at any moment. A single misstep could cost people their lives. This creates a psychological strain not only on the prisoners, but on the people trying to free them. Danish writer/director Tobias Lindholm has crafted the movie in a straight- forward manner that lays out the scenario and lets the emotions come forth on their own. Shot with handheld cameras, the movie cross- cuts between two perspectives. On the ship, Somali pirates hold hostage the crew of a freight ship bound for India. Back in Denmark, the corporate office attempts to get everyone home safely. There would have been several easy, predictable ways to make a film about A Hijacking’s subject matter. Lindholm pressed toward unexpected territory and found the real drama.—Jeremy Mathews. Following Year: 1. Director: Christopher Nolan. Before Memento, before Inception, Christopher Nolan made his feature- length debut with this tight little mindscrew. An aspiring young novelist shadows and studies strangers, rather innocently, for inspiration until he gets sucked in by a charismatic man in a suit who turns out to be a petty thief. Wise to his being followed, the burglar takes his would- be stalker along his crime route, until bad things—and a hot blonde—happen. Nolan, who also penned the screenplay, shows his knack for non- linear narratives early on; he establishes the key players before doubling back through the story. The constraints of a no- budget production—the film was made for just 6 thousand bucks and shot in black and white on 1. Nolan’s first neo- noir is voyeuristic, suspenseful and, at a shade over an hour long, efficient as hell. Like its subjects, Following gets in and out before anyone knows quite what hit them.—Amanda Schurr. The Lady Vanishes Year: 1. Director: Alfred Hitchcock. Pretty much predating every trope you’ve ever come to expect out of a genre that gets its name from keeping the audience keyed- up, The Lady Vanishes is both hilariously dated and a by- the- numbers primer on how to make a near- perfect thriller. Far from Hitchcock’s first foray into suspense, the film follows a soon- to- be- married woman, Iris (Margaret Lockwood), who becomes tangled in the mysterious circumstances surrounding the titular lady’s disappearance aboard a packed train. No shot in the film is extraneous, no piece of dialogue pointless—even the ancillary characters, who serve little ostensible part besides lending complexity to Iris’s search for the truth, are crucial to building the tension necessary to making said lady’s vanishing believable. The film is a testament to how, even by 1. Hitchcock was shaving each of his films down to their most empirical parts, ready to create some of the most vital genre pictures of the 1. Dom Sinacola. 25. Mystic River Year: 2. Director: Clint Eastwood. Based on Dennis Lahane’s novel, Clint Eastwood’s dramatic mystery is packed with great performances from Laurence Fishburne, Laura Linney, Marcia Gay Harden, Kevin Bacon, Tim Robbins and, especially, Sean Penn, who won both the Oscar and Golden Globe for leading actor. The Boston neighborhood where the characters live feels like a small town, where three childhood friends drift apart and find themselves at odds in the wake of a local murder.—Josh Jackson. Compliance Year: 2. Director: Craig Zobel. Filled with superior performances, Compliance does everything within its power to make a far- fetched situation believable. Ann Dowd gives a nuanced portrayal. Dreama Walker takes on a difficult role and delivers. Pat Healy, as the caller, is dead- on creepy, and Bill Camp, as the bumbling fianc. The actors have to be strong since it’s such a confined script, taking place mostly within the supply room of the restaurant. Continually, one asks, “Could this really happen?“ Apparently, it can, and the film makes the point a few times that similar situations have happened more than seventy times over a ten- year period. It’s a conceit that one can accept or not. Whatever the case, it’s a frightening thought to realize that people can be so gullible and susceptible to the whims of authority. Is it our desire to please, our desire for structure or is authority simply tapping into our propensity for wrongdoing?—Will Mc. Cord. 23. The Crying Game Year: 1. Director: Neil Jordan. Neil Jordan’s thriller set during the Irish Troubles is as much about sexual politics as governmental ones. One of the first films with a sympathetic transgender character, the story also digs into race and identity. The sympathetic portrayal of an IRA footsoldier resulted in the film’s poor reception in England, but it was a hit in America, where it was nominated for six Oscars.—Josh Jackson 2. Tinker Tailor Soldier Spy Year: 2. Director: Tomas Alfredson. Steeped in the monochrome color palette and noir soundtrack of 1. Tomas Alfredson’s adaptation of John le Carr. Set in 1. 97. 3 at the height of the Cold War, the film turns on the suspicion that a double agent has infiltrated Britain’s Secret Intelligence Service (SIS), a. Shortly after a botched operation to ferret out the mole ends his career, Control (John Hurt) dies, leaving his investigation in the hands of retired operative George Smiley (Gary Oldman). With grayed blond hair and owlish glasses, Oldman disappears into his role, not only physically but behaviorally. Smiley is a still man, watching and waiting, while his mind whirs, processing and analyzing years’ worth of data, information and memories.—Annlee Ellingson. Fatal Attraction Year: 1. Director: Adrian Lyne. If any movie character was ever going to scare married men into remaining faithful, it was Alex Forrest. Glenn Close’s portrayal as the crazy spurned “other woman” is terrifying, highlighting what Michael Douglas’ happily married protagonist is throwing away when he engages in a weekend affair. Nominated for six Oscars, the film had the highest worldwide box office in 1. Or eating rabbit stew.—Josh Jackson. In Bruges Year: 2. Director: Martin Mc. Donagh. You know you’ve tripped into the ambiguous realm of Postmodernism when medieval Europe, midget jokes and ultraviolence converge into a seamless whole. Theater auteur Martin Mc. Donagh’s debut feature, In Bruges, thrives on these stylistic clashes with its narrative of two sympathetic hitmen who seek refuge in a European wonderland full of tourists and irony. The ? lm excels, painting its story through the extreme juxtaposition of its subjects, with each contrasting plot element not only understood but felt visually. Top Thriller Movies List, Best Thriller Movies of All Time by Film. Crave. Language: English. Genre: Thriller/Horror. MPAA rating: RDirector: Jonathan Demme. Actors: Anthony Hopkins, Jodie Foster, Anthony Heald. Plot: An FBI agent uses the help of Dr. Hannibal Lector, a confined psychopathic killer, to profile a missing person's kidnapper and serial killer. New + Best Thriller Movies list = 2.
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