Perfect movies are far and few between, with most fans holding that praise for only a select handful of productions they hold in high regard. Every film fan has their own elements they love and dislike; essentially, one man’s trash is another’s treasure. The thriller genre walks a particularly fine line, trying to entice audiences with sensational premises while still making them feel believable.
Even when getting more creative and abstract, these movies also have to deliver characters that fans will feel engaged with from start to finish. These ten movies are phenomenal, and we don’t fault those who hold them to that high standard, but a choice or two has left them falling short of perfection.
‘Dragged Across Concrete’ (2018)
With only a few movies to his name, S. Craig Zahler has been praised for his work in the crime-thriller genre. Dragged Across Concrete exemplifies this reputation, with a dark and gritty tale of two dirty cops, Detectives Brett Ridgeman (Mel Gibson) and Anthony Lurasetti (Vince Vaughn), delivering visceral thrills and fascinating character studies. Weaving in several parties all trying to get their hands on stolen money, the movie is a tense thriller with flares of stylized violence.
Zahler has been criticized for the implied politics of his films, and this one showcases why. Notably, when Det. Ridgeman gets reprimanded by his chief, and he goes into a long boomer take on what is wrong with society, more apt for a Facebook post than a feature film. This is a mistake in an otherwise masterfully crafted thriller, as the detective’s beliefs come through in his subsequent actions and in more nuanced conversations with others; it is an eye-rolling monologue that takes you out of the film.
‘Trap’ (2024)
M. Night Shyamalan may be a slightly divisive director, but there is no denying that he can make an engaging story out of unbelievable events. In Trap, serial killer Cooper Adams (Josh Hartnett) takes his daughter to the sold-out concert of her favorite singer, Lady Raven. It is here that he learns it was a set-up to capture him: how exactly the police knew he would be there, but not who he was, and the various moments of luck that allow him to evade capture are still entertaining under Shyamalan’s skilled hand.
However, the perfect popcorn thriller asks the audience to go beyond logic in its latter moments. Notably, it ultimately does too much, with everything after Lady Raven’s concert entering the realm of silly. However, the worst part comes with Cooper’s arrest, as the police allow a vicious serial killer a moment of humanity to upright a bike, which enables him to grab a spoke to pick his lock. It is a final twist so far removed from reality that it makes the final moment more awkwardly comedic than impactful.
‘The Game’ (1997)
David Fincher’s thriller is certainly nail-biting and shocking from the get-go, following Nicholas Van Orton (Michael Douglas), a wealthy investment banker, whose gift of a ‘game’ from his brother Conrad (Sean Penn) goes off the rails. What is supposed to be a psychologically crafted game of events leads to increasingly violent acts that have Douglas seemingly fighting for his life. The unraveling of the rich, the paranoia-driven atmosphere, and continual tension are masterfully crafted here by Fincher.
While no one really likes those who point out illogical elements in film, as even the most serious thrillers are supposed to be a form of escapism, the ask here from Fincher in the film’s conclusion is a bit too much. There are so many scenes that don’t make sense in The Game. Van Orton jumping from a building, leaving his brother to die, and even his emotional attachment to Christina are all impossibilities to predict in the movie’s premise of a corporation tailoring his experience. The twist here is not silly unto itself, but going back retroactively and trying to figure out how it applies to every scene became the most scrutinized aspect of the release.
‘Killer Joe’ (2011)
Director William Friedkin knows how to masterfully balance shock and drama, often using the former to make broader commentary on humanity or society. Killer Joe, which chronicles the fallout of Emile Hirsch (Chris Smith) hiring a contract killer, the titular Killer Joe (one of Matthew McConaughey’s best roles), and using his daughter, Dottie (Juno Temple), as “collateral,” leads down some pretty masterfully woven dark corners of the human psyche. Yet, the movie is often overshadowed by its more extreme moments.
Far from subtle, the “symbolic degradation” of the chicken wing scene is gross and unnecessary. It is not a turning point or a revelation of a darker side to Joe; it is just pure indulgence in a character we already know to be indulgent. Humiliation as violence is always going to be a tricky thing to approach in any film, but others have done it better. Ultimately, any rationalizing of the metaphors behind the scenes fails under the blunt, shocking delivery.
‘Heat’ (1995)
Michael Mann’s epic crime drama Heat gave fans one of the best pairings of two legends in LAPD detective Vincent Hanna (Al Pacino) and master thief Neil McCauley (Robert De Niro). From two parallel worlds, the inevitable clash between them amid a series of heists in Los Angeles would set a new standard for procedural detail, character building, and action.
Heat is as close to pure perfection as one can get, yet the romance subplots throughout the film feel largely underdeveloped and forced. Both Amy Brenneman (Eady) and Diane Venora (Justine) give strong performances here as the respective partners of Vincent and Neil. Still, both are painfully underdeveloped, with Eady existing only to humanize McCauley and try to inject emotional stakes. This feels more like a missed opportunity than a misstep, as if there was more psychological depth to their characters, as opposed to being on par with the already impactful movie; it could have that extra oomph.
‘Shutter Island’ (2010)
Remember that period in film when it was considered clever to sprinkle clues throughout toward the twist ending? Whether it be Memento, Black Swan, Fight Club, or The Sixth Sense, this approach has certainly developed some nail-biting films, but it has largely been abandoned in the modern landscape of cinema. Shutter Island is an example of going too heavy with the hints throughout.
Yes, the cinematic craft here is exceptional, DiCaprio’s performance is outstanding, and the nuanced approach to unraveling much of the story is perfect. Yet, the movie’s symbolism and clues are overemphasized throughout, and, particularly on second viewings, Shutter Island loses much of its impact as it heads into the exposition-heavy third act.
‘Heretic’ (2024)
The setup of Heretic is simple yet effective. Two Mormon missionaries find themselves trapped inside a home with a charismatic elderly man, Mr. Reed (Hugh Grant), who challenges their beliefs while subjecting them to bizarre horrors. Here, the movie casts Grant as an unforgettable menace, and the slow reveals, with some shocking twists, blend horror and thriller perfectly.
However, Heretic really starts to falter in its overindulgence in ideology and mistakes edginess for tension. The movie feels like it was written by a think tank among the most vocal users on r/atheism, often delivering a very shallow and purposefully obtuse view of religion. By the end of the film, it all becomes rather tiresome. A bit more reserve here, especially off the clever twists and Hugh Grant’s fantastic performance, would have made Heretic the perfect horror/thriller.
‘Cape Fear'(1991)
Martin Scorsese delivered one of the best remakes ever when he presented a more modern, grittier vision of 1962’s Cape Fear. Backed by a phenomenal cast, the movie followed defense attorney Sam Bowden (Nick Nolte), who finds himself and his family terrorized by an ex-convict seeking revenge in Max Cady (Robert De Niro). The film has become a favorite, offering one of De Niro’s most memorable performances, and it taps into Hitchcockian tension unlike any other film of the era.
As phenomenal as the film is, Cape Fear would have benefited from showing a bit of reserve in the survivability of Max Cady. The moral implication of what Max Cady represents can become blunted when his ability to survive takes on an almost comic-book approach. Surviving being drowned, beaten, and stabbed, all this makes Cady an unstoppable force, but in a way more suited to a slasher than a serious thriller.
‘The Lovely Bones’ (2009)
Peter Jackson delved into the world of crime thrillers with the acclaimed The Lovely Bones. Here, the story centers on the murder of Susie Salmon (Saoirse Ronan) and its effects on her father, Jack (Mark Wahlberg), who is drawn down a path of revenge against George Harvey (Stanley Tucci).
Tucci’s performance is disturbingly compelling and a surprisingly nuanced vision of evil, while Saoirse Ronan makes the perfect central character, bringing the emotional depth and vulnerability required. Wahlberg is a fantastic actor when given the right role; his father on a path of revenge in The Lovely Bones is not one of them. Here, Wahlberg lacks the emotional gravity needed to convey a father grappling with the death of his daughter. It is particularly a flat performance from an otherwise stellar cast that hinders the film from being perfect.
‘The Taking of Pelham One Two Three’ (1974)
The day of Lieutenant Zachary Garber, played by Walter Matthau, is thrown into chaos when a New York subway is taken hostage. As events become increasingly violent and politics are dragged into the situation, Zachary and his team desperately push to catch the criminal or meet the ransom. Presenting a realistic scenario, The Taking of Pelham One Two Three captures 1970s New York with authenticity and delivers a tight police procedural that would become highly influential and revered on release.
This is high-stakes storytelling at its best, which completely immerses the audience in the scenario. Yet, there are a few moments of humor that sour the film’s serious tone. The jokes don’t really land, and while they seem to try to cut some of the tension, they feel better left on the cutting room floor. Moreover, the ending itself verges on being a punchline and feels slightly too convenient for an otherwise perfectly crafted thriller.
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