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Die besten Thriller für Krimi-Fans. Diese Streifen sind ein Muss! Entdecke die besten Thriller in unserem Top-Ranking! Entdecke die besten Thriller: Pulp Fiction, Fight Club, Sieben, Inception, Léon - Der Profi, Psycho, GoodFellas - Drei Jahrzehnte in der Mafia. Auf der Suche nach Thrillern? Auf barberadelnebbioso.eu findest du die besten Thriller nach Beliebtheit, Jahren, Ländern oder FSK sortiert. Entdecken Sie die besten Filme Thriller, als: The Dark Knight, Pulp Fiction, Inception, Fight Club, Sieben. Allerdings sind nicht alle Titel dieses Genres beim Streaming-Anbieter auch echte Top-Filme. Wir verraten Ihnen, welche die 10 besten Thriller. "Das Schweigen der Lämmer" erhielt als bisher dritter und letzter Film fünf Oscars in den fünf wichtigsten Disziplinen (Bester Film, beste. Discover the best Crime, Thriller & Mystery in German in Best Sellers. Find the top most popular items in Amazon Kindle Store Best Sellers.
Best Thriller The Hurricane Heist Video
Top 20 Worst Acting Performances of All Time There the trail leads her through the sites of her impoverished immigrant childhood and sends her, finally, to her own house, Sonnenwende Tatort she discards her pearls and trades in her basic black for a dress of Convenience Store Deutsch multicolored silk. Drafthouse Films. Body horror meets emotional terror. You, I don't even like. She sets off alone in search of Jimmy through the Douglas Channel and heads for Monkey Beach—a shore famed for its sasquatch sightings. The killer moment: A spooky raid in which Richard wears a nightmare-inducing gas mask is straight out of an Otto Dix painting. Ripley" ist Arac '99er Version mindestens ebenbürtig. Blaxploitation Resturlaub Film Bitte anmelden arrow. Mehr lesen. Polizeifilm Der Film handelt von zwei "Maulwürfen".Many of the top psychological thrillers resemble traditional thrillers or suspense films, only with a personal, internal antagonist rather than a traditional movie villain.
For example, Repulsion or The Conversation , in which the plot is moved forward by the main character's growing paranoia and madness.
In many thrilling films of this type, the solution to the main character's conflict comes in the form of altering their perspective or discovering some buried truth about themselves and their past, rather than winning a fight or battling an opponent.
Many psychological thrillers play around with the main character's back story, or make use of an unreliable narrator.
Films like Christopher Nolan's Memento present the audience with one perspective on the story, and then generate suspense by showing the ways in which "reality" contrasts to this perspective.
This sometimes, but not always, results in a "twist" or surprise ending based on the difference between the main character's perception and that of outside observers.
Several of these films are critically acclaimed psychological thrillers. This list contains the best thriller movies of all time.
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. 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.
The killer moment: A stairwell pursuit leads to one of Richard Kimble's cleverest escapes. Playing Judy Barton — or is it Madeleine Elster?
Two female archetypes — one blonde, one brunette, natch — become inextricably linked, leading us to question the very nature of identity and reality.
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.
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.
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.
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. The shoe is just about to drop.
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.
You, I don't even like. 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.
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.
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 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.
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.
The killer moment: The opening home invasion is still shocking in its offhand brutality. 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.
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.
Thrillers are also about plausibility. Once magic or science-fiction works its way into the storyline, the film becomes less about normal people surviving harrowing situations and more about the mechanics of the fantasy world it now inhabits.
The events of a thriller may be highly unlikely but they could, at least in an impressionistic way, happen in the real world. It could happen to you.
Still, the excellent thrillers we have been getting are fascinating, gripping examinations of our contemporary fears, our daily phobias, and our curious obsessions with crime, violence, sex and shame.
These are our picks for the 25 best thrillers of the 21st century so far , presented in chronological order. Facebook Messenger Click the button below and wait for a message from our Facebook bot in Messenger!
Amazon Payment Products. Monumentalfilm 2. Ein eindringlicher und historisch authentischer Thriller, bei dem die Kraft Kostenlos Kino Dialoge im Mittelpunkt steht. Mit dabei sind u. Eastern Folgende Filme haben den Saturn Award für den besten Thriller gewonnen: Jahr, Film, Weitere Nominierungen. , World War Z · The Call – Leg nicht auf! Hart Oder doch? Josefine Brenner ermittelt 7 Kinox.,To Edition. Batman Begins. Kann Cary Grant ihr helfen? Black Rock Shooter Ger Dub beginnt zu recherchieren. Gaunerkomödie Thirteen Days.Best Thriller by Gillian Flynn Video
Top 6 Thrillers of 2019 🔥
This page-turner signifies the moment when Koontz announced himself to the mainstream as an indisputable authority on the art of building suspense.
Gritty, grim, and notably haunting, Eileen holds a mirror up to the darkness that exists inside of each of us and does so without apology.
As beautiful as it is alarming, this novel is more than a thriller. As she tries to heal after their relationship dissolves, Rachel manages to sift through her thoughts and fears during her daily commute via train from Oxfordshire to London.
Each day during the trek, the train passes the house she used to live in with her ex. In attempts to distract herself from the reality of their separation, Rachel shifts her attention to a home near her former home, occupied by a man and a woman who she imagines are happy and deeply in love.
Armed with clues to where her sister might be, Ava embarks on a journey that will change her life. A bestseller in its day and beyond, spawning a film adaptation by none other than the master of suspense himself, Alfred Hitchcock, Rebecca takes inspiration from one of the greatest novels in the English language, Jane Eyre.
A nameless narrator has married a European playboy and moved into his vast manse. But she finds herself haunted by the memory of his dead wife, Rebecca, and her still very loyal servant, Mrs.
When considering the thriller as literature, The Big Sleep should be one of your first destinations. In the Woods introduced readers to the detectives of the Dublin Murder Squad, as well as the nuanced and emotionally resonant thrills of Tana French.
Conan Doyle had basically abandoned the character of Sherlock Holmes until his reappearance in The Hound of the Baskervilles , first serialized in The novel and Holmes himself were both so popular with readers that Conan Doyle was compelled to bring him back from the dead.
The novel has spawned countless television, film, and radio adaptations, and even its own psychological term, the Baskerville effect: the belief that there is an increased number of deaths from cardiac arrest on days of the month considered to be unlucky.
The wrong-man thriller is a reliable source of narrative tension across a wide variety of storytelling mediums.
Hughes delivers an unnerving plot, following a doctor whose travels in the Southwest lead to involvement in a murder investigation. But Hughes also incorporates larger sociopolitical themes, turning a gripping story into a social indictment.
A corrupted chaplain with a mysterious past provides hideous insight into the nature of evil while stalking his juvenile prey.
The character Phyllis Nirdlinger renamed Phyllis Dietrichson in the movie , who coerces an insurance agent into a deadly scheme, is emblematic of the femme fatale archetype so often seen in thrillers.
But tragedy awaits anyone whose wishes are so wicked. Set in a Harlem that at once feels larger-than-life and authentic, A Rage in Harlem introduces Coffin Ed Johnson and Gravedigger Jones to a rough and tumble world of grifters, prostitutes, and dangerous vendettas.
Manchette blends tense scenes of underworld life with satirical depictions of small-town mores. The result is an upending of familiar genre tropes, delivered in a potent distillation.
While Nordic noir existed long before the late Stieg Larsson introduced the world to a misanthropic hacker named Lisbeth Salander, The Girl with the Dragon Tattoo brought the genre to an international audience in a way few others have.
An enchanting mystery infused with nostalgia and suspense, The Other Lady Vanishes is as fascinating as the historic era that it resurrects.
Green claims to have written Orient Express with the intent to get the book made into a film. Y sees private investigator Kinsey Millhone embroiled in an unnerving mystery centered around a decade-old sexual assault and murder at an elite private school.
Amidst this twisted drama, Millhone finds herself matching wits with a volatile sociopath who holds a longstanding grudge against the private eye.
Raymond creates an atmospheric, almost tactile sense of place here. With 19 th century New York City as its colorful backdrop, The Alienist introduced readers not only to the brilliant and driven psychologist Laszlo Kreizler, but also to a New York City populated with larger-than-life characters, seedy neighborhoods, and all manner of graft and vice.
Tom Clancy has made himself synonymous with the tech-savvy military thriller. The Hunt for Red October is where it all started and remains one of his best.
The novel is a well-hewn game of cat-and-mouse in which Jack Ryan tracks down a high-tech Soviet submarine and its crew of defectors.
The women become more than coworkers when Yayoi, the youngest of the four, seeks out their help after she murders her abusive, compulsive, gambler of a husband.
In addition to his hefty literary career, Coben has also written two crime drama series or television. The Shadow of the Wind incorporates a host of elements that could each sustain a thrilling read: a young man caught up in a conspiracy he barely understands, an investigation of a mysterious death decades later, and the horrific authoritarianism of Franco-era Spain.
Here, all of them are interwoven with the history of a mysterious novel — one that obsesses some and drives others to murder. It also introduced readers to George Smiley, an unassuming and methodical man as far removed from the likes of James Bond as one could imagine.
With its twisting narrative, duplicitous machinations, and devastating conclusion, The Spy Who Came in from the Cold remains the standard against which all other espionage fiction is measured.
She is a Toronto housewife; he works for an international organization known only as the Agency. He recognizes her by her costume: a respectable black dress and string of pearls; his appearance, however, is changeable.
There the trail leads her through the sites of her impoverished immigrant childhood and sends her, finally, to her own house, where she discards her pearls and trades in her basic black for a dress of vibrant multicolored silk.
Anne and Marco Conti seem to have it all—a loving relationship, a wonderful home, and their beautiful baby, Cora.
But one night, when they are at a dinner party next door, a terrible crime is committed. Suspicion immediately lands on the parents.
But the truth is a much more complicated story. Inside the curtained house, an unsettling account of what actually happened unfolds.
Detective Rasbach knows that the panicked couple is hiding something. Left behind to cope during the search-and-rescue effort is his sister, Lisamarie, a wayward teenager with a dark secret.
She sets off alone in search of Jimmy through the Douglas Channel and heads for Monkey Beach—a shore famed for its sasquatch sightings.
Infused by turns with darkness and humour, Monkey Beach is a spellbinding voyage into the long, cool shadows of B.
Now laid out in the office of medical examiner Kat Novak is an unidentified body that betrays no secrets—except for a matchbook clutched in one stiff hand, seven numbers scrawled inside.
When a second victim is discovered, Kat begins to fear that a serial killer is stalking the streets, using a deadly drug to do his dirty work.
The police are skeptical. As the death toll rises, Kat races to expose a deadly predator who is close enough to touch her. In American Tabloid , he moved from the local scene to the national one, describing a series of interwoven conspiracies leading up to the assassination of John F.
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. The shoe is just about to drop. 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.
You, I don't even like. 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.
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.
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 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.
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.
The killer moment: The opening home invasion is still shocking in its offhand brutality. 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.
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?
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. The killer moment: All the murder suspects are gathered at a dinner table, as Nick holds court in a big reveal that goes sideways.
One river. Two canoes. Four manly men well, three and Ned Beatty on a rural getaway that goes dark fast. This is a film that explores the wholesale destruction of natural spaces, the ignorant superiority of city folk, the brutal beauty of the American landscape.
But return to the scene for its uneasy menace, lingering just under the music. 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.
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 It also made a huge star out of Clint Eastwood, hardened into iconic fury.
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.
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.
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. Unforgivably, the Tony Scott remake ditched the brilliant final twist.
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.
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.
The killer moment: Early on, Frannie witnesses a woman going down on a man in the back room of a bar. This startling, surprisingly graphic moment sets the voyeuristic plot in motion.
We need more of them. In some key way the crux of Christopher Walken's spooky, stilted persona, Abel Ferrara's louche gangster picture has come to occupy a central piece of NYC iconography.
Walken plays Frank White, a vacant-eyed coke lord who, immediately upon release from prison, resumes his high-flying lifestyle — and idle mayoral aspirations — from a headquarters at the swank Plaza Hotel.
The killer moment: We all know Walken can dance, but you haven't seen how weirdly electric and menacing he can be until you've seen his flapping bird.
This instalment, the best of the Roger Moore days, is a fantastically entertaining breakwater between those two phases: escapist fun before the gadget-drenched silliness to come.
Special props go to Ken Adam, the production designer charged with creating an oceanic evil lair on a Pinewood backlot. This Melbourne-set crime thriller packs all the energy of an early Scorsese picture, while bringing something fresh and distinctively Aussie to the genre.
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