Here are Tony Stamp’s short and sweet capsule reviews of some of the finest thrillers ever put to film. Click each link to find out where they’re streaming now!
Bullitt (1968)
Featuring one of the finest car chases put to film (employing the hilly streets of San Francisco in a way that’s never been bettered), Bullitt also sports one of cinema’s coolest performances, with Steve McQueen negotiating a maze of conspiracy and double-crosses with maximum stoicism. Lieutenant Frank Bullitt has had a gutsful, and by god he’s going to crack this case.
Calibre (2018)
Two friends visit the Scottish Highlands for a spot of hunting and make a very very bad mistake, left to deal with the consequences while stranded amongst the insular community. Undoubtedly grim, but worth it for great performances from Jack Lowden (Benediction) and Tony Curran. Fans of gripping their arm rests very tightly waiting for something bad to happen will not be disappointed.
Cape Fear (1991)
Martin Scorcese remade the 1962 film of the same name, ramping up its luridness and paying tribute to Alfred Hitchcock wherever possible. His embrace of Hitch’s camera, lighting, and editing techniques intentionally clash with the grubby subject matter, and Scorsese’s usual moral relativism. Nick Nolte is a delight as a buttoned-down lawyer way out of his depth, and De Niro goes full Beast Mode.
Carlito’s Way (1993)
An unbelievable roster of talent—director Brian De Palma, writer David Koepp, and stars Al Pacino and Sean Penn—crafted this crime classic, which is as bittersweet as it is exciting. The more Pacino’s ex-con is drawn back into a life of crime, the more De Palma cranks up his formidable chops. We feel the pressure all the way to a nail-biting finale.
The Chase (2017)
South Korean cinema excels in the thriller genre, and this slightly under-the-radar 2017 serial killer stonker is a worthy addition to the canon. As is common in the region it weaves between comedy, drama and high octane action, following a grumpy landlord who teams up with a former detective to track down the increasingly bold culprit behind a spate of murders.
Collateral (2004)
One of Tom Cruise’s best performances (please play a villain again Tom!), and one of Jamie Foxx’s too, not to mention the appearance by a scene-stealing Jada Pinkett-Smith. That’s Michael Mann for you though: deploying typically muscular filmmaking to bolster a no-nonsense story of hapless hero meeting hitman, pioneering digital cinematography to showcase Los Angeles, and delivering a one-crazy-night showstopper.
Come to Daddy (2019)
NZ filmmaker Ant Timpson’s feature debut follows a hipster musician played by Elijah Wood as he tracks down the father he hasn’t seen since he was five. An abundance of plot twists ensues, as dear old dad is unexpectedly hostile, and it turns out there might be more going on than would appear. Bonus points for a supporting cast of treasured character actors, including Martin Donovan and Stephen McHattie.
Coming Home in the Dark (2021)
A lean, very upsetting slice of NZ gothic depicting the worst family holiday ever, which sees parents Erik Thomson and Miriama McDowell tormented by an excellent Daniel Gillies, for reasons revealed over the course of the film. First-time director James Ashcroft expertly deploys a series of hair raising moments, but the film’s real strength is the way it provokes thought and self-reflection.
Contagion (2011)
The streaming figures on this 2011 film about a global pandemic that sends the world into despair shot up in 2020, for reasons I’m sure you can deduce. Definitely interesting to view in hindsight and compare to real events, it’s also another cracking ensemble piece from Steven Soderbergh, following Matt Damon, Jude Law, Kate Winslet and a truckload more big names as they attempt to quell the chaos.
Dark Waters (2020)
Todd Haynes last fictional full-length prior to the buzzed-about May December was this comparatively under-the-radar adaptation of “The Lawyer Who Became DuPont’s Worst Nightmare”. That lawyer was Robert Bilott, played here by Mark Ruffalo, who mounted a case against the chemical company when it emerged they’d been dumping toxic sludge. Sporting a stacked cast including Anne Hathaway and Tim Robbins, the true story unfolds with big-screen thrills.
Devil (2010)
M. Night Shyamalan wrote the story for this 2010 chiller. Equal parts scary and silly, his DNA is all over it. It’s mostly set in an elevator, where five people become trapped. When they start dying, the question is raised whether one of them might be the titular Prince of Darkness. Trust me: it’ll make sense once you watch it.
The Game (1997)
Michael Douglas at the tail end of his Sleaze King era gets put through the wringer by dastardly David Fincher, following up the one/two punch of Se7en and Fight Club with this twistier tale of brotherly love, wish fulfilment and general weirdness. It’s a paranoid tumble down the rabbit hole that plays quite differently after recent escalations in conspiracy theorising, but might be stronger for it.
Get Carter (1971)
Michael Caine wreaks havoc on the Newcastle underworld while investigating his brother’s murder, endlessly charismatic, constantly poe-faced, and spouting charming lines like “your eyes still look the same: pissholes in the snow”. Mike Hodges’ no fuss, no muss direction is as remorseless as his lead character, the result being a true Brit crime classic, decades before Guy Ritchie uttered his first “geezer”.
The Guest (2014)
Mining territory somewhere in between John Carpenter’s 80s output and John Hughes 80s output, this 2014 entry starts chill and slowly turns up the heat. Features early performances from Maika Monroe and Dan Stevens ( the latter playing against type as an increasingly sinister army vet), and was director Adam Wingard’s follow up to his home invasion horror You’re Next (these days he’s busy overseeing the Godzilla/Kong films).
The Guilty (2018)
Miles better than its Hollywood adaptation, this Danish original follows a police officer dealing with emergency calls, eventually trying to contain an unfolding situation on the other end of the line. Makes the most of its cramped single location to ratchet up the pressure on the lone cop, each phone exchange shedding new light on what’s happening outside the station, as well as its protagonist’s shady past.
Heist (2001)
Some of the finest thrillers ever have sprung from the pen of David Mamet, in a career that stretches back to the seventies and includes classics like The Spanish Prisoner and House of Games. Like those entries, Mamet also directed this one. It stars acting titans Gene Hackman, Delroy Lindo, Danny Devito and Mamet regular Rebecca Pidgeon, and involves professional thieves and their various schemes.
Identity (2003)
A big ol’ ham sandwich of dumb fun that throws John Cusack, Ray Liotta, Rebecca MeMornay and more terrific character actors into a motel housing a serial killer and lets the thrills ensue. Multiple rug-pulls follow, leaving any sort of sense in the dust in favour of inspired lunacy. Director James Mangold had already directed some prestigious genre films, and would go on to do plenty more, making this a notably bonkers entry in his filmography.
Inception (2010)
Christopher Nolan may work on a colossal scale with enormous budgets, but all his films are thrillers at heart. Inception in particular is basically a spy flick, albeit one gussied up with sci-fi plot mechanics. He really mastered the form here, culminating in a third act symphony of crosscutting between action and ratcheting up tension—with help from Hans Zimmer’s iconic score.
Inside Man (2006)
A heist film set over the course of 24 hours, in which Clive Owen proclaims he’s committed “the perfect bank robbery” before we rewind to find out how. He’s up against Denzel Washington’s detective in a film that, for a Spike Lee joint, is reasonably straightforward in terms of character dynamics (although Lee does colour the margins with subtext), but very tricksy in terms of plot.
The International (2009)
Tom Twyker might still be best known for his breakthrough Run Lola Run, but it’s well worth checking out this pulse-pounding film about…banking! Clive Owen and Naomi Watts jump between Milan, Istanbul and NYC in their attempt to prove an international bank is corrupt, the highlight being a shootout at the spiraling Guggenheim, staged with Twyker’s impeccable style.
Kimi (2022)
A classic Soderbergh thriller in that it does the basics very well, then proceeds to be a bit more clever than you initially expected (see also: Side Effects, Unsane, Logan Lucky). As acclaimed as the director is, he still feels slightly underrated in his ability to perfectly place his camera and tell his story effortlessly. Here he finds the perfect lead in Zoë Kravtiz as an agoraphobic coming up against Big Tech.
Message From the King (2016)
There’s another fantastic lead performance from the late Chadwick Boseman to be found in Belgian director Fabrice Du Welz’s down and dirty revenge flick. Boseman rolls into LA from Cape Town SA looking for his estranged sister, his investigation leading him to places he couldn’t have expected, and forcing him to take action. As grungy as procedurals get, and undoubtedly thrilling.
Misery (1991)
One of the most successful Stephen King adaptations, pitting James Caan’s King-esque writer against Kathy Bates crazed super fan. Director Rob Reiner is a safe pair of hands, pivoting to more serious territory after a string of comedies. Bones are broken and mayhem ensues as a desperate Caan attempts to escape an increasingly manic Bates’ clutches.
The Nightingale (2018)
Jennifer Kent’s follow up to her masterful spookfest (and depression metaphor) The Babadook is just as accomplished, but it’s also incredibly confronting (seriously, all the trigger warnings for this one). A revenge tale of sorts set in Tasmania circa 1825, it follows an Irish convict and Aboriginal tracker whose paths align, resulting in a sort of intersectional look at colonial brutality. It’s thoroughly tough stuff, but ultimately rewarding.
Nobody (2020)
A beefed-up Bob Odenkirk comes out of tough guy retirement to take on the Russian mob – so far, so John Wick (they even share a screenwriter). But Nobody distinguishes itself with plenty of humour and a weirdly heartwarming conclusion, capitalising on its star’s unique charisma as he mows through baddies in a series of inventively-choreographed and shot action scenes.
No Country For Old Men (2008)
Joel and Ethan Coen stripped away their usual quirks to honour Cormac McCarthy’s brutal vision of the modern West, and won the Best Picture Oscar in the process. It’s a lean, extremely mean vehicle for a series of chase sequences, which concludes that the world is an arbitrarily cruel place, and stays gripping for every second of its runtime. Extra notable for introducing Javier Bardem to the wider world, and, among many genius touches by the Coens, its complete lack of music.
Nightmare Alley (2022)
This faithful retelling of the 1947 original (that fully commits to the darkness the latter could only imply) sees Guilermo del Toro bring his considerable visual heft to proceedings, basking in noir lighting and elegant mise en scène. A phenomenal cast show up for the Mexican maestro, some of them for just a scene or two, with Cate Blanchett in particular feeling right at home as an extremely suss femme fatale.
No Sudden Move (2021)
Two fantastic leads in Don Cheadle and Benicio del Toro, a stacked supporting cast including Jon Hamm, Kieran Culkin and some ahead-of-the-curve love for Brendan Fraser, as well as a surprisingly topical script from Ed Solomon (Bill & Ted), make this eminently worth your time. As if watching Steven Soderbergh deliver another entertainingly unexpected, two-fisted caper in under two hours wasn’t enough bang for your buck.
Old (2021)
The French graphic novel Sandcastle provided inspiration for M. Night Shyamalan, who proceeded to go big in a very latter-day Shyamalan way: several things happen in Old that are straight up bonkers, to the extent that I can’t believe I saw them in a mainstream movie. A beach that makes you age provides a rich metaphor, and the filmmaker pounces on it with inventive cinematography courtesy of Michael Gioulakis.
The Rainmaker (1997)
John Grisham is no slouch in the thrill department. Nor is Francis Ford Coppola, who wrote and directed based on Grisham’s novel. Matt Damon stars as a law graduate tasked with arguing his first case, via a route that involves fist fights, FBI raids and clandestine fact-finding. There’s support from a cast of big names, Coppola shooting it all with the expected formal excellence.
Shutter Island (2009)
Over the years Scorsese’s psych-out sanitarium trip has been subject to some gentle ribbing (mostly for Leo’s chowdah-thick Boston accent: “dooly appointed Fedahral Maahshalls”), but also a critical reassessment (some were initially underwhelmed by the film’s twist ending). It’s a film that plays better a second time, an all-time maestro behind the camera calibrating his images for maximum spookiness and, eventually, sadness.
Spotlight (2015)
A procedural based on real events that moves with the verve of a thriller, Spotlight follows the Boston Globe’s investigative unit as they look into allegations of sexual abuse involving Catholic priests. An all-star cast including Mark Ruffalo, Michael Keaton and Rachel McAdams lead a story that continues to have real-world implications, making the pursuit of justice here feel all the more urgent.
State of Play (2009)
This adaptation of the BBC miniseries of the same name transplants the action to America, and takes several cues from paranoid 1970s political thrillers like All the President’s Men. The relationship between journalism and politics is meaty subject matter, and while this feels more once-over-lightly than anything in depth, you could do a lot worse. Particularly with the likes of Helen Mirren, Rachel McAdams and an incredibly-coiffed Russell Crowe making up the cast.
Tinker Tailor Soldier Spy (2011)
Presenting spy work as bureaucratic slog, Swedish director Tomas Alfredson applies the same frosty approach to Tinker Tailor Soldier Spy as he did to his vampire tale Let the Right One In. It’s a film that demands your full attention, playing out in whispers even once Gary Oldman’s George Smiley has figured out exactly who is up to what, and at what cost.
The Train (1964)
John Frankenheimer had a long career as a workmanlike action director, but in the 1960s he was on one, delivering this two-fisted war flick a few years after conspiracy thriller The Manchurian Candidate, and a few before the surreal psychological horror Seconds. Burt Lancaster plays a resistance officer tasked with keeping precious artworks out of the Nazi’s clutches, encountering more visceral carnage than you might expect from a ‘60s movie.
Training Day (2001)
This film is mostly remembered for Denzel Washington’s Oscar-winning performance as a highly decorated, thoroughly crooked narcotics officer who’s prone to bellowing things like “King Kong ain’t got shit on me!” It also features a baby-faced Ethan Hawke, and launched the careers of director Antoine Fuqua and writer David Ayer. Both would go on to deliver films about tough, morally dubious men, perhaps never as successfully as they did here.
Wrath of Man (2021)
A relatively buttoned down outing from director Guy Ritchie, abandoning many of his usual stylistic quirks (OK, one character is called “Boy Sweat,” but otherwise…) to focus on a plot meshing heist action with revenge and cops n crooks. There are twists and reveals in abundance, and it’s nicely gritty without too many winks—extending to a no-nonsense lead performance from Jason Statham.
Those Who Wish Me Dead (2021)
Taylor Sheridan had a pretty successful acting career, then went on to write prestigious scripts for the likes of Sicario, co-create shows like Yellowstone, and follow up his direction on the acclaimed Wind River and this Angelia Jolie-starring thriller. In it she goes on the run from a pair of hitmen played by Nicholas Hoult and Aiden Gillen. More notable names pop up in the supporting cast, but the real draw is Sheridan’s sharp pace and tension.
