How about great thriller movies

1. How about great thriller movies What makes a great thriller? All right, wait and see. Are your palms sweating? Are your teeth clenched? Is your heart beating and your legs shaking uncontrollably? If so, the movie you are watching is probably working. If done well, thrillers can cause more physical reactions than any other type of bar thrillers. However, how it triggers these reactions varies greatly. Kiss Me Deadly (1955) The most disturbing nightmare of the black thriller movie ended in a burning nuclear disaster - if this anxiety was not enough, there was torture outside the screen, the slapping of fierce waiters and the random destruction of beloved opera records. Robert Aldrich's unusual masterpiece brings Mickey Spelan's vicious Mike Hammer (a grinning Ralph Mick) to life: a futile bottom feeder that is easy to use fists. He is the most vicious anti hero. Los Angeles made him like this. The Fugitive (1993)

2. Hollywood hopes to produce such a perfect thriller movie every summer, a film that makes Harrison Ford jump off the dam, and a film nominated for an Oscar in the main categories. Although widely praised, The Escape is still underestimated: it is a classic photo of Chicago (we mean the winter of Windy City); It contains a wonderful description of Tommy Lee Jones's stubborn investigation of Gerald; It turns the entire movie production into a professionally calibrated double chase. Mulholland Drive (2001) David Lynch's unbreakable masterpiece meets at the intersection of Hollywood dream and dream logic. In the crazy quilt town of Lynch, anything can lurk at the corner, whether it is the urban ghoul covered with dirt, the mysterious puppet master wearing a cowboy hat, the reality of division, the hapless mafia or Billy Ray Cyrus wearing a green hat. The legacy of Muhran Road will always be its clarity, but in all the conversations about what it really means, people tend to forget the fact that it is exciting from beginning to end: it is a puzzle box with no answer, and can still be used as a black master, fascinating mystery and ethereal horror story. M (1931) Several real life child murderers, cannibals and serial killers - their

3. nicknames are terrible enough: butchers in Hanover, vampires in Dusseldorf - terrorized Germany in the 1920s. Fritzlang, the richest and most famous director in Berlin, was attracted by this theme, which will become the pillar of his first sound thriller movie. In many ways, it is the commercial birth of modern psychological thrillers. M is the darkest landmark in the film: a terrible appetite portrait, which is revolutionary and also a slanting mirror of the whole society. (Filmed by the murderer among us, the Nazis refused the space of Lang Studio.) This film is immortal for Peter Lorre as the performance defined by Hans Beckert's career. He is trapped by the impulse of sweating and the network of police and gangsters. Lang also turned Edvard Grieg's "In the Mountain King Hall", which was whistled by Beckett but could not, into an instant signature of auditory threats. The Third Man (1949) With Vienna after World War II as the background, full of oblique angles and bright shadows, the third person is the perfect work of expressionism. Harry Lyme, played by Orson Wells, who is considered dead by his childhood friend Holly (Joseph Coton), is the best one in the thriller movie. He is a down and out novelist just for the dramatic return. Wells swaggered in the film with calm confidence, and performed many landmark lines with his famous baritone. Of course, suspended animation is a risky proposition,

4. and it is challenging to present it realistically. The director Carol Reid threw us into the fate of Lyme, and we were excited by every plot transition. After watching this fascinating film, you will never see the tunnel or ferris wheel (or hear the music of zither) in the same way again. Reservoir Dogs (1992) As for Quentin Tarantino's breakthrough, nothing is new: the suit is a pure group of rats, the dialogue is strengthened by Scorsese, and even the plot is extracted from the Hong Kong crime movie "City on Fire". But just like the bomb made by mixing family elements, the result is burning. ReservoirDogs have changed cinemas, and we are still dealing with aftershocks (see the smooth criminals of Baby Driver or the entire career of Martin McDonagh, the three billboard directors, for evidence). But even if these are not true, it is still a pleasant thriller movie, which can be experienced and re experienced: every line is crackling like electricity, every performance is perfect, and every shot feels like a bucket of water. Since then, Tarantino has never been close to it - but neither has anyone else. The Silence of the Lambs Jonathan Demme's intense serial killer program is set in a troubled America, where there is an undercurrent of violence hidden under its skin, bordering

5. on the big Ginol thriller movie. Unconventionally, she found her savior in the shoes of female law enforcers - Clarice Starling (Judy Foster, a Federal Bureau of Investigation intern, who combines strength and vulnerability) - The Silent Lamb divided her terror into grotesque moths, creepy female butchers and fratricidal doctors Hannibal Lecter (Anthony Hopkins), a nightmarish manipulator, likes liver and broad beans. The Lamb has excellent cross editing before its grand ending (the twists and turns of the disclosure make your back cool). It is one of the greatest movies in the 1990s and a rare thriller recognized at the Academy Awards. The Maltese Falcon (1941) John Houston's brilliant adaptation of Daryl Hammett's noir thriller movie has many advantages. It is hard to know which parts to praise first: the plot is in full swing; The villains are very slippery (especially the "fat man" in Greenstret, Sydney, and Joel Cairo in Petrol); Mary Astor's snake and scorpion beauty is a kind of sexy and immoral happiness; The nominal black figurine MacGuffin is very iconic, and the prop itself sold $4 million at the auction. (For the 12 inch bird that fell on Humphrey Bogart's foot during the shooting, this is a lot.) What about heroes? Sam Spade is everything you want from a black criminal policeman: the whip is smart, the bite is tight, arrogant, and he is not afraid of the pea shooter you pointed at him. Not even that he is a particularly good person, but that other people

6. around him are much worse than him. Bogie's Spade is the avatar of a new Hollywood hero in the war years: a person who can slip from heroism to annoying people in the same glass of whisky, and then come back. Double Indemnity (1944) Nowhere is the black thriller movie more symbolic than the story of Billy Wilder, who tells the story of an insurance salesman (Fred McMurray) involved in a cunning plan by a scorpion beauty (Barbara Stanwick) who tries to murder her husband. Watching the shadow of this film and Stanwick's swaggering temptation is like losing yourself in a tough and mysterious world that has affected countless films. Zodiac (2007) David Finch's crime thriller breaks the known limit and regards the truth itself as the ultimate victim of the serial killer. The Chinese Zodiac is the authoritative film in the ten years of its predicament, which shows us that good people are frustrated by the unpredictable spirit of the ferocious ghost. The true experience of the killer of the California zodiac has been puzzling Finch as a child. His films are an expression of obsession, both on and off the screen.