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Newsletters

Thrillers

Reviews of the best new thrillers. Return to all Movie Reviews.

A woman, lit with dramatic dark pink lighting, stands in front of a blue background, seen from the shoulders up

Nicolas Winding Refn On the Genesis of ‘Her Private Hell’

Following a near-death experience and a series of increasingly dreamlike projects, the director seems to have forsaken verisimilitude for a dark fairy-tale take on life.
By Stephen Garrett
A man in a white dress shirt and a woman in a wedding dress sit at the open back of a white van in the middle of a rocky desert, while another man stands nearby in jeans and a blue T-shirt.

Now Screening: Jafar Panahi’s ‘It Was Just an Accident’

Panahi’s masterwork of a revenge thriller exactingly traces how evil, once inflicted, metastasizes within our souls and eventually overtakes us.
By Oliver Jones
An actor in a bright green shirt forcefully holds another man in a striped button-down shirt while police officers in uniform move toward them inside a large building lobby.

Screening at Venice: Gus Van Sant’s ‘Dead Man’s Wire’

Whatever Van Sant’s feelings about this kind of subject matter may have once been, he appears to now translate them through a lens of sheer exhaustion.
By Siddhant Adlakha

Screening at Venice: Luca Guadagnino’s ‘After the Hunt’

By Siddhant Adlakha
A shirtless Jude Law looks directly into the camera, beside a blonde Vanessa Kirby who does the same.

Jude Law Contributes Nothing But Full-Frontal Nudity in ‘Eden’

By Rex Reed
A man in civilian clothes holds a handgun in a two-handed grip, aiming intently in a parking lot, with a police vehicle and fast food restaurant in the background.

‘Sovereign’ Is a Fire Alarm for America’s Most Dangerous Family Values

By Rex Reed
A collaged grid of book covers tilted to the left

10 Must-Read Thrillers to Cool Your Blood

By Gillian Harvey

Wes Anderson Explains the Genesis of ‘The Phoenician Scheme’

By Stephen Garrett

Screening at Cannes: Denzel Washington and A$AP Rocky In Spike Lee’s ‘Highest 2 Lowest’

By Stephen Garrett

‘Opus’ Review: Pop-Star Cult of Personality Thriller Never Finds Its Groove

By Dylan Roth

‘Black Bag’ Review: Love as a Spy Game

By Dylan Roth

‘Zero Day’ Review: A Political Thriller Without Politics

By Dylan Roth

‘Cleaner’ Review: Daisy Ridley Deserves Better, And So Do You

By Emily Zemler

‘Yellowjackets’ Season Three Review: Lingering Trauma, New Drama

By Emily Zemler

‘Paradise’ Review: Sterling K. Brown Can’t Save This Series

By Laura Babiak

‘Prime Target’ Review: Apple’s Math Conspiracy Doesn’t Add Up

By Laura Babiak

‘Severance’ Season 2 Review: More Questions, Fewer Answers

By Laura Babiak

‘Squid Game’ Season 2 Review: Thrills, Kills And Fan Service

By Laura Babiak

The Year’s Best Films: Changes in Perspective—And Heroes

By Oliver Jones
A man with large glasses in a beige jacket with an ABC logo looks forward with a serious expression

I Was There: Rex Reed on ‘September 5’ and the Munich Olympics Tragedy

By Rex Reed
Man in a green jacket firing a gun

‘The Order’ Review: Jude Law and Nicholas Hoult Deliver Gripping, Timely Thrills

By Rex Reed

The Golden Age of Espionage: Why Spy Thrillers Are Booming on Streaming

By Emily Zemler

‘The Madness’ Review: Netflix Series Will Drive You Crazy

By Laura Babiak
A serious-looking jury sits in a wood-paneled courtroom, focused and taking notes, with natural light streaming through blinds, creating a subdued atmosphere.

‘Juror #2’ Proves Clint Eastwood Is Still a Master of Suspense—and Hollywood

By Rex Reed
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