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The 100 best thriller movies of all time
A thriller can be hard to define, but you know one when you see one â or rather, when you feel one. In your palms. Under your armpits. In your teeth as you grind down the enamel and your leg that wonât stop involuntarily shaking. Next to horror, itâs the most physical of all film genres, one that, when done right, prompts a visceral response unlike any other. You can be sure the greatest thriller movies do it right. How they initiate that response, however, varies widely. Under the thriller umbrella, youâll find political conspiracies, murder mysteries, explosive and quietly tense psychological dramas â and, of course, lots and lots of crime. Clearly, the thriller contains multitudes. But the best of them will draw you in, steal your breath, leave your head spinning.    Written by Abbey Bender, Joshua Rothkopf, Phil de Semlyen, Tom Huddleston, Andy Kryza, Tomris Laffly & Matthew Singer RECOMMENDED: đŻïžÂ The 35 steamiest erotic thrillers ever madeđŹÂ The 20 best thriller movies on Netflixđ§šÂ The 60 most nerve-racking heist movies everđŁÂ The 101 best action movies ever madeđȘ The 35 steamiest erotic thrillers đ„ The 100 best movies of all time

Lola Kirke chats about her new army drama AWOL and her love of New York weirdos
Lola Kirke is driving around her newly adopted home of Los Angeles and chatting with me on speakerphone when âtwo crazy jet planesâ (her words) descend from above, creating a racket and eliciting an audible âOh, my fucking Godâ from the actor. She pulls over for silence and a caffeine boost and tells me, apologetically, âI will be a better person once I have a coffee.â (Yes, this conversation could not have started out more L.A.) The spirited young actor, whose sister Jemima stars in Girls, has been making waves lately, with a significant role in Gone Girl followed by the one-two punches of Amazonâs Mozart in the Jungle and Noah Baumbachâs screwball comedy Mistress America. And now, with the lead in Deb Shovalâs Tribeca Film Festival debut, AWOLâplaying a directionless army recruit who falls in love with a married woman (Breeda Wool) and abandons her postâKirke continues her hot streak (and gets to return to her stomping grounds of NYC). Welcome back to the concrete jungle, kid. RECOMMENDED: Full coverage of the Tribeca Film Festival You grew up in NYC, right? I did. Itâs actually really funny, when I was little I used to look at Time Out Kids for auditions to go on all the time. Pre-Internet life. Did anything come of those? No, nothing ever came of those, but they were my first taste of auditions. What is the thing that you love doing when youâre back in town? My mom and I have started going together to the Turkish baths on 10th Street fairly regularly. Thereâs also lots of

Joel Edgerton talks Midnight Special, Loving, diversity in Hollywood and alien life
Weâll forgive you if you donât know the name Joel Edgerton right off the bat. But you probably like him already. The commanding actor who upstaged Johnny Depp in gangster movie Black Mass? Him. The science teacher turned MMA fighter who made you cry buckets in Warrior? Him again. Yet despite these impressive creditsâheâs also had meaty roles in The Great Gatsby and Zero Dark Thirtyâthe 41-year-old Aussie still holds the âthat guy from that thingâ status. But expect that to change this year after the releases of two films by ace director Jeff Nichols (Mud, Take Shelter). First up is Midnight Special, a minimalist sci-fi film starring Michael Shannon that was immediately attractive for Edgertonâs character-over-showy-effects sensibilities. âSometimes you pick up a screenplay and genuinely donât know whatâs going to happen next,â says Edgerton. âThat was the feeling I got from Midnight Special. The special effects took a backseat. It reminded me of Close Encounters of the Third Kind in a really good way.â After that heâll star in Nicholsâs much different Loving, which just wrapped shooting in Virginia and chronicles the real-life tale of an interracial couple sentenced to jail in the â50s just for getting married. Before those billboards with Edgertonâs face are erected, though, hereâs some cool stuff to know about him.
Listings and reviews (86)

Charm City Kings
The spirit of old-fashioned coming-of-age fare roars in director Angel Manuel Sotoâs sun-dappled Charm City Kings, as it speeds alongside Baltimoreâs storied dirt-bike scene over one fast and furious summer. In a deft refashioning of Lotfy Nathanâs kinetic documentary 12 OâClock Boys that recalls the likes of A Bronx Tale and Boyz n the Hood, the film circles a tight-knit trio of scrappy inner-city boys, prematurely forced into manhood by circumstances. Surrounding the youngsters are role models dwelling on the fringes of â and sometimes slipping through â unjust systemic cracks and a good-natured, slightly overlong tale of morality and sacrifice that earns its hefty, if formulaic lessons. Learning them the hard way is the vivacious, animal-loving Mouse (twinkle-eyed breakthrough Jahi DiâAllo Winston). Heâs a passionate teenager with dreams of joining his local areaâs coolest biker squad, en route to becoming a vet. For now, in this order. Among those who thicken the plot while Mouse weighs up his priorities are his disapproving mother, a sweet, underdeveloped romantic interest, and rapper Meek Millâs ex-con mentor who helps Mouse build his own motorcycle under his protective wing. (An inspired Karate Kid gag likens him to Mr Miyagi.) Itâs an overcrowded canvas, but Charm City Kings generously spins it into a big-hearted yarn, by both honouring Mouseâs disarming zeal and soberly addressing the communityâs evolving struggles with crime and prejudiced law enforcement figures. S

The Way Back
Ben Affleck has some chops behind the camera: the four features under his directorial belt demonstrate as much. His screen presence can be another story, though, as evidenced in director Gavin OâConnorâs The Way Back, led by an oddly impassive performance from the former Batman as a trauma-soaked, alcoholic basketball coach. While in line with his acting career of late, Affleckâs monotony feels especially unfortunate here. He reportedly drew from his own struggles with alcoholism for the roleâs visceral register, a detail heâs been bravely transparent about. But that deep pain seldom materialises, leaving us with a bland ragtag-team-of-underdogs flick that wishes it was Hoosiers. The template is too familiar: a star athlete of yore, Affleckâs careworn Jack Cunningham gets a second shot at glory when he is asked to coach his alma materâs hopeless team out of their losing streak. He halfheartedly accepts, building up the squad with a growing enthusiasm (and an amusingly unwelcome foul mouth), like The Damned United's vigorous Brian Clough. Except his non-stop drinking persists, confirming the worst fears of the schoolâs well-meaning staff, Jackâs critical sister and gently concerned ex (Michaela Watkins and Janina Gavankar, both underused). âFrom the director of The Accountantâ is hardly a ringing endorsement â that mind-numbing action-thriller was also an Affleck-starrer â but Brad Ingelsbyâs screenplay is the filmâs guiltiest instrument, shortchanging even the most convention

La isla de la fantasĂa
Si profundizabas un poco en su mĂstico paraĂso tropical, su enigmĂĄtico propietario vestido de blanco y su clientela en busca de sueños, era fĂĄcil encontrar algo fuera del corazĂłn de esta serie setentera. Incluso si los fanĂĄticos acĂ©rrimos no estuvieran pidiendo exactamente por un spin off cuatro dĂ©cadas despuĂ©s, Âżseguramente no serĂa difĂcil explotar ese espeluznante potencial de horror? Aparentemente sĂ. Dirigida por Jeff Wadlow, el hombre detrĂĄs del igualmente apĂĄtico Truth or Dare, esta adaptaciĂłn de Blumhouse estĂĄ sobrecargada y mal trazada, enredada en sus convoluciones y desprovista del atractivo retro del original. Aquellos que estĂ©n suficientemente familiarizados con la ediciĂłn vintage pueden apreciar el espectĂĄculo pero mĂĄs allĂĄ de eso, los antiguos aficionados a las versiones de TV se aburrirĂĄn hasta las lĂĄgrimas ây no solo ellosâ. Al recordar cualquier cosa, desde Saw hasta Black Mirror, el guiĂłn es superficial y sin miedo. Fiel al material, el misterioso Sr. Roarke (Michael Peña, que actualiza con Ă©xito la suave personalidad en pantalla de Ricardo MontalbĂĄn) toma las decisiones. Al dar la bienvenida a un vuelo privado lleno de ganadores de loterĂa, les promete una fantasĂa inmersiva. Entre los invitados se encuentran: Lucy Hale, la entusiasta de las redes sociales que busca castigar a la chica mala de su escuela secundaria; un par de hermanos optimistas y chocantes que lo quieren todo; una solitaria nostĂĄlgica y hambrienta de romance (Maggie Q); y un policĂa que a

Fantasy Island
If you dug even a little into its mystical tropical paradise, its enigmatic, white-clad proprietor and his dream-seeking clientele, it was easy to find something a little âoffâ at the heart of seemingly kitsch late-â70s telly hit âFantasy Islandâ. Even if die-hard fans werenât exactly clamouring for a genre spin-off four decades on, surely it wouldnât be hard to mine that creepiness for horror potential? Apparently so. Directed by Jeff Wadlow, the man behind the equally listless âTruth or Dareâ, this Blumhouse adaptation is overwrought and poorly plotted, tangled up in its convolutions and shorn of the originalâs retro appeal. Those who are sufficiently familiar with the vintage edition might appreciate nods to the show (someone shouts âThe Plane! The Plane!â), but beyond that, old-timey TV-version aficionados will be bored to tears â and not just them. Bringing to mind anything from âSawâ to âBlack Mirrorâ, the shallow and scare-free script by Wadlow, Jillian Jacobs and Christopher Roach is an equal-opportunity offender across generations. True to the source material, the mysterious Mr Roarke (Michael Peña, successfully updating Ricardo MontalbĂĄnâs suave on-screen persona) calls the shots. Welcoming a private flight full of lottery winners to the resort, he promises them one immersive, fully realised fantasy each that comes at a price. Among the guests are: Lucy Haleâs social media-savvy go-getter looking to punish her high schoolâs mean girl; a pair of upbeat, high-fiving b

The Assistant
An unseen entertainment mogul haunts Kitty Greenâs flawless thriller âThe Assistantâ, a hawkeyed probe into systemic abuses of power, set before the era of #MeToo. Harvey Weinstein is the obvious inspiration for the bigwig, and we get sufficient clues: a New York-based movie production house, a gruff, eerily familiar voice off-camera, the havoc he leaves in his wake. But Green never name-checks the now-ousted producer. Thanks to this approach â examining not a single offender but instead a suffocating culture of silence, peopled by enablers â the understated film builds into a gut punch thatâs more painful than anything in the superficial, recent Roger Ailes exposĂ© âBombshellâ. Before then, we watch a day in the work life of the selflessly committed office newbie Jane (Julia Garner of âOzarkâ, finding astonishing emotional precision in the smallest details). Green, a director of provocative nonfiction films like âCasting JonBenetâ, observes Janeâs routine with a documentarianâs clear-eyed compassion and delicate, rhythmic discipline: Jane makes copies, scrubs appalling stains out of the bossâs couch, recovers a piece of incriminating jewelry and drafts humiliating apologies when she is unfairly blamed for mistakes. A pair of seasoned male assistants guides her, adding to her intimidation with their arrogance. Garnerâs breathtakingly controlled performance â all withheld tears and suppressed screams â brings to mind Chantal Akermanâs 1975 feminist masterpiece, âJeanne Dielmanâ

Richard Jewell
Clint Eastwood has long been attracted to everyday heroes burdened by institutional power (you can see it as far back as âDirty Harryâ). Continuing this libertarian streak, the directorâs latest honors Richard Jewell, the security guard who cleared most of a crowd when he discovered fatal explosives at the 1996 Atlanta Summer Games. For this act, he saw his life turned into a living hell when the FBI â which he idolised â mistakenly targeted him as the perpetrator. Resurrecting his sturdy cinematic prose after recent fiascos like âThe 15:17 to Parisâ, Eastwood competently dramatises the underdogâs true tale with a patient, straightforward style akin to âSullyâ and âChangelingâ, but he falls short on nuance. Worlds removed from his thuggish but dim bodyguard in âI, Tonyaâ, the terrific Paul Walter Hauser disappears into the role of the affable, gun-hoarding ex-cop. Working a series of gigs until a crucial one places him at the pivotal Centennial Olympic Park, his amicably awkward Jewell flaunts an overkill sense of duty that annoys almost everyone except his proud, doting mother (a poignant Kathy Bates, delivering a lived-in performance that swells in the final act). Tipped off by an inept FBI agent (Jon Hamm), an opportunistic reporter (Olivia Wilde) kicks off a media circus after publishing negative speculation on Jewell, who then hires Sam Rockwellâs quixotic lawyer to clear his name. Gradually, Eastwood builds a heartwarming, familial camaraderie between client and attorne

Richard Jewell
Desde los tiempos de 'Harry el Sucio', a Clint Eastwood le atraen los hĂ©roes cotidianos reprimidos por el poder institucional, las fuerzas del orden, la ley. AquĂ lleva al cine la historia real de Richard Jewell, el guardia de seguridad que descubriĂł una serie de explosivos en los Juegos OlĂmpicos de Atlanta de 1996. Su vida se convirtiĂł en un infierno cuando el FBI lo confundiĂł con el terrorista. DespuĂ©s de algunos fiascos estrepitosos como 'Mula', el director recupera cierta dignidad.

Richard Jewell
Des dels temps de 'Harry el Brut', a Clint Eastwood l'atrauen els herois quotidians reprimits pel poder institucional, les forces de l'ordre, la llei. AquĂ porta al cinema la histĂČria real de Richard Jewell, el guĂ rdia de seguretat que va descobrir una sĂšrie d'explosius en els Jocs OlĂmpics d'Atlanta de 1996. La seva vida es va convertir en un infern quan l'FBI el va confondre amb el terrorista. DesprĂ©s d'alguns fiascos estrepitosos com 'Mula', el director recupera certa dignitat.

Un niño encantador
Escrita por el actor Shia LaBeouf como una tarea de rehabilitaciĂłn, Un niño encantador es tanto una autoevaluaciĂłn franca como una disculpa pĂșblica de alguien que busca comenzar de nuevo. Confiada a la directora correcta, Alma Har'el, la pelĂcula es agotadora, pero sobre todo te desarma. Ella le da a este vulnerable ejercicio una forma rebelde y mapea el caos de la adicciĂłn con agallas y estilo. Comienza con recreaciones impresionantes de una cinta de Holywood a mediados de 2000 (presumiblemente una pelĂcula de Transformers) junto con fechorĂas erpetradas por LaBeouf, aquĂ renombrado Otis e interpretado por Lucas Hedges. Otis pronto estĂĄ en terapia, revisando una infancia que estĂĄ teñida de negligencia, y cosas peor. Esos recuerdos conducen a un hilo argumental diferente, ambientado en los noventa: LaBeouf interpreta a su propio cruel padre, un veterano alcohĂłlico de Vietnam, delincuente sexual condenado y expayaso de rodeo llamado James. Trabajando en el set de una producciĂłn de televisiĂłn con su solitario hijo-actor (Noah Jupe, deslumbrante), pasa sus dĂas sin mantenerse sobrio y sintiĂ©ndose inferior a Otis, que tĂ©cnicamente mantiene su sustento. Har'el alterna inteligentemente entre las dos Ă©pocas. En numerosos enfrentamientos entre el manipulador James y el maduro, pero indefenso Otis, el escritor LaBeouf se gana la compasiĂłn de la audiencia por su yo mĂĄs joven. Se ha enfrentado a este tema complicado y sin duda doloroso con gravedad y profundidad, y Un niño encantador n

Ćeker Ăocuk
Yönetmen: Alma Harâel Nedir? Oyuncu Shia LaBeoufâın hayatı. Neden izlemeli? Zorlu bir hikayeyi etkileyici bir Ćekilde anlattıÄı için. Bir tĂŒr itiraf hikayesi olan âHoney Boyâda Shia LaBeouf oyuncu olarak adeta kabuklarını kırıyor. LaBeoufâın 2017âde rehabilitasyon merkezinde kaldıÄı sıralarda kaleme aldıÄı hikaye, oyuncunun istismara uÄradıÄı çocukluÄu ve oldukça sorunlu geçen yetiĆkinlik dönemiyle bir tĂŒr barıĆma çabası. Bu kendiyle barıĆma ve iyileĆme öykĂŒsĂŒ, yeni bir baĆlangıç yapmak isteyen birinden gelen âkamusal bir özĂŒrâ gibi. Bu dikkate deÄer çaba, yönetmenlik anlamında emin ellere teslim edilmiĆ. İki ayrı zamanı paralel olarak kurgulayan Alma Harâel, LaBeoufâın savunmasızca kelimeler döktĂŒÄĂŒ kaotik anlatıyı stilize bir Ćekilde toparlamıĆ. âHoney Boyâ, bir tĂŒr karmaĆayla baĆlıyor, filmde Otis ismiyle izlediÄimiz LaBeoufâın bir aksiyon filminde dublörlĂŒk yaptıÄını görĂŒyoruz. Karakterin gençliÄini Lucas Hedges canlandırıyor. Bir araba kazasının ardından Otis danıĆmanlık almaya baĆlıyor ve ihmal edildiÄi gençlik yıllarına ait anılar içinde kayboluyor. Bu anılar bir baĆka anlatının baĆlamasına vesile oluyor. LaBeouf, filmin 90âlarda geçen yarısı boyunca kendi babasını canlandırıyor. Alkolik bir Vietnam gazisi olan James, aynı zamanda hĂŒkĂŒm giymiĆ bir tecavĂŒz suçlusu ve eski bir rodeo sĂŒrĂŒcĂŒsĂŒ. OÄluyla beraber kĂŒĂ§ĂŒk bir televizyon programında çalıĆan James ayık kalmaya çalıĆırken, aileyi geçindiren ise Otis oluyor. Zorlu bir konuyu derinlikli bir Ćekilde ele alan âHoney Bo

The farewell
Awkwafina da un meditado paso adelante y protagoniza una comedia delicada que gira alrededor de una familia china que se enfrenta a una mala noticia. Agridulce y con un humor ingenioso, el drama de la directora Lulu Wang conquista mostrando el corazĂłn roto de una joven inmigrante. Como es costumbre en China, la familia de Nai Nai (la abuela) decide ocultarle la diagnosis de un cĂĄncer. El clan se reĂșne en Asia con el falso pretexto de una boda repentina, que prepara el terreno para un encuentro aparentemente celebratorio, pero en secreto devastador, perfectamente reflejado en la mĂșsica de Alex Weston. Con destreza, Wang consigue hacer de las escenas un espacio cĂłmico que es a la vez punzante. Vemos la historia a travĂ©s de los ojos de Billi (Awkwafina), una nieta en conflicto que tiene conversaciones frustrantes con sus padres americanizados. Acogiendo deliciosamente el ritual oriental, 'The farewell' invoca un complejo sentimiento de amor familiar que desafĂa las barreras del idioma.

The farewell
Awkwafina fa un meditat pas endavant i protagonitza una comĂšdia delicada que gira al voltant dâuna famĂlia xinesa que sâenfronta a una mala notĂcia. Agredolç i amb un humor enginyĂłs, el drama de la directora Lulu Wang conquereix per mitjĂ del cor trencat dâuna jove immigrant. Com Ă©s costum a la Xina, la famĂlia de la Nai Nai (lâĂ via) decideix amagar-li la diagnosi dâun cĂ ncer. El clan es reuneix a lâĂsia amb el fals pretext dâun casament sobtat, que prepara el terreny per a una trobada aparentment celebratĂČria, perĂČ en secret devastadora, perfectament reflectida per la mĂșsica dâAlex Weston. Amb destresa, Wang aconsegueix fer de les escenes un espai cĂČmic que Ă©s a la vegada punyent. Veiem la histĂČria a travĂ©s dels ulls de la Billi (Awkwafina), una neta en conflicte que tĂ© converses frustrants amb els seus pares americanitzats. Acollint deliciosament el ritual oriental, 'The farewell' invoca un complex sentiment dâamor familiar que desafia les barreres de lâidioma. El reconeixereu i tambĂ© el sentireu.