“Thrillers provide the reader with a safe escape into a dangerous world, where the stakes are as high as can be imagined, with unpredictable outcomes. It’s a perfect genre in which to explore hard issues of good and evil, a mirror that allows the reader to see both the good and not so good in themselves.” — Ted Dekker.

Although the thriller genre is a fan favourite, nowadays, with so many extant in cinema and literary history, lots of them seem boringly interchangeable. Roger Ebert wrote: “many thrillers follow such reliable formulas that you can look at what’s happening and guess how much longer a film has to run.”

Sometimes, one watches a thriller for a familiar, predictable story to satisfy genre conventions. Others, audiences are thirsty for something both familiar and yet new: a thriller that charts fresh territory. This list will attempt to provide recommendations of both iterations of the popular genre.

1. Shoot to Kill (1988)

With the help of a wilderness guide (Tom Berenger), FBI agent Warren Stantin (Sidney Poitier) chases a murderous extortionist (Clancy Brown) across the wilderness of the Pacific Northwest.

Blending the buddy cop sub-genre with a survival thriller, Shoot to Kill marked Sidney Poitier’s return to cinema after a nine-year absence. As usual, the screen legend lends his confidence, seriousness and dignity, making for an intense and mesmerising lead. An example of in medias res, Shoot to Kill’s beginning dives straight into tension and action. It respects and entertains thriller fans with its fast pace, and lean screenplay and focused direction from Roger Spottiswoode.

At the same time, Shoot to Kill’s especial talent lies in its aptitude for prolonging the nail-biting suspense sequences, be it a hostage situation or hanging off the side of a cliff. Furthermore, the crisp action sequences are choreographed with clarity and precision. These span car chases, shootouts in crowded public places and an impressively executed altercation with a bear. Shoot to Kill currently holds a 100% approval rating on Rotten Tomatoes.

2. Malice (1993)

In Massachusetts, Tracy (Nicole Kidman) and Andy (Bill Pullman) rent a room in their house to surgeon Jed (Alec Baldwin). After Jed performs a surgery on Tracy, Andy begins to uncover her secret.

Malice belongs to a trend of late-eighties, early-nineties erotic and ‘yuppies in peril’ thrillers. Examples of the latter sub-genre include: Unlawful Entry (1992) and The Hand That Rocks the Cradle (1992). Aaron Sorkin’s screenplay seemingly borrows from both these movies and is overflowing with red herrings and unexpected twists. This makes for a tantalising mystery for the audience to unravel, where the truth is the opposite of the appearance they are led to believe at the movie’s start.

All the main characters are brought to life by memorable performances. Bill Pullman is gentle and sympathetic, while Nicole Kidman is dextrously slippery, toying with the audience’s allegiance. Meanwhile, Malice’s greatest acting comes from Alec Baldwin. He mutates the overly confident yuppie persona he perfected in Glengarry Glen Ross (1992) into an inscrutable, terrifying villain.

3. Executive Decision (1996)

Terrorists hijack a plane bound for Washington D.C. A special ops team sneaks aboard to save the passengers.

Although formulaic, the underrated Executive Decision excels as a top-tier hostage thriller, comparable to The Delta Force (1986) and Air Force One (1997). Everything about Executive Decision is proficiently constructed and keeps the audience engaged: Jim and John Thomas’s logical, high stakes, tension-swelling screenplay, Stuart Baird’s professional direction and Jerry Goldsmith’s appropriately doom-invoking orchestral score.

However, Executive Decision’s standout feature is the great performances from its stellar cast, consisting of: Kurt Russell, John Leguizamo, Halle Berry, J.T. Walsh and Scrubs ’Ken Jenkins. David Suchet, known for his portrayal of Poirot (1989-2020) on UK television, distinguishes himself as a memorably frightening and clever villain, even learning Arabic in preparation for his role. The scenario presciently foreshadows 9/11 and the US’s war on terror, which would dominate the 2000s and beyond.

4. A Perfect Murder (1998)

Wall Street mogul Steven (Michael Douglas) discovers his wife Emily (Gwyneth Paltrow) is having an affair with painter David (Viggo Mortensen). To collect his wife’s hefty fortune, Steven blackmails David to kill Emily.

A Perfect Murder has gone undervalued as a paradigmatic infidelity thriller. With a classic, engrossing storyline, a reimagining of Hitchcock’s Dial M For Murder (1954), it delivers everything an audience desires from the genre and more. Like Malice, A Perfect Murder is a quintessential ‘yuppies in peril’ thriller, seeing Michael Douglas perfect the signature tycoon persona he began crafting in Wall Street (1987). By this token, the movie is unrecognised as perhaps Douglas’s best and most representative role.

Moreover, Gwyneth Paltrow and Viggo Mortensen equal Douglas’s excellence, as does David Suchet. Suchet’s hawk-eyed, noteworthy detective sees him continue to use the Arabic he learnt for Executive Decision. Furthermore, A Perfect Murder also contains a sociological, political subtext. Businessman Steven represents the right wing, prioritising finance, and artist David represents the left, focusing upon freethinking. In this analogy, Emily could represent America itself, with the right and left wing battling for her affections. Echoing socialism, David attempts to undermine Steven, whilst Steven uses authoritative bribery to have David in his employ.

5. The 51st State (2001)

An American chemist (Samuel L. Jackson) travels to Liverpool to sell a new drug’s formula to gangsters.

Although derided upon its release, The 51st State is a goofy gangster yarn that makes for hilarious entertainment, recommendable to Guy Ritchie and Tarantino fans. It is populated by a repertory of quirky characters: badass, kilt and tam o’shanter-clad, African American Elmo McElroy, Emily Mortimer playing an icy-cool assassin, Meat Loaf as a facially disfigured, hot-headed drug baron, Ricky Tomlinson styling a hapless Scouse mob boss, Rhys Ifans as eccentric club owner Iki.

Although every character has their own style of comedy, the highpoint is the car chase repartee between Jackson and Trainspotting’s (1996) Robert Carlyle, where American and English culture butt heads. For instance, Jackson questions Carlyle about the various uses of the word “bollocks,” with Carlyle explaining “dog’s bollocks” is positive, whilst singular “bollocks” is negative. In addition, director Ronny Yu brings stylistic panache to the mise-en-scène, such as his choice of low,

Dutch angles, reminiscent of Fear and Loathing in Las Vegas (1998). The aesthetic, electronic score and heart-pounding pace is emblematic of the Y2K rave culture The 51st State depicts.

The films described in this list have been undervalued as interesting, thoughtful variations of the thriller genre. Oftentimes, their intentions have been misinterpreted, or they were maligned by the release of more popular, popcorn fare.

Whilst the thriller’s central purpose is to deliver action and suspense, some of these titles additionally use the genre as a vessel to explore deeper ideas. In other instances, they were entertainment-focused, but did not resonate with audiences until retrospective appreciation, years later. Furthermore, the sway of critics opinions also has an influence upon audiences’ rejection of films that, in fact, have a lot to offer.

1. The Born Losers (1967)

Loner Billy Jack (Tom Laughlin) attempts to save a town from an invading outlaw biker gang.

Fundamentally, The Born Losers is an exhilarating piece of grindhouse cinema, superior in execution to the unfocused roughness of other ‘60s bikesploitation movies. In addition to its countercultural stylishness, The Born Losers shocked audiences, for its depictions of violence, rape and homosexuality, leading it to be banned in Hungary and Sweden.

Whilst it serves primarily as grimy entertainment, the movie also possesses more thought-provoking concerns. Through its protagonist, Billy Jack, the screenplay delves into the discrimination of Native Americans, the marginalisation of Vietnam War veterans and offers a criticism of police brutality. As a revenge movie, it espouses the anti-authoritarian philosophy of the then-burgeoning hippie movement.

2. The Passion of Darkly Noon (1995)

In North Carolina’s Appalachian Mountains, Darkly Noon (Brendan Fraser) escapes from a cult. He is rescued by the seductive Callie (Ashley Judd). During his stay, Darkly grows infatuated with Callie. This proves to be an issue when Callie’s husband Clay (Viggo Mortensen) returns.

The Passion of Darkly Noon is a film unlike any other. Its uniqueness is built through John de Borman’s peculiar, majestically dreamlike cinematography, evoking the paintings of Andrew Wyeth and Edward Hopper. In one iconic scene, Darkly Noon watches a giant silver shoe inexplicably floating down a river. In another, the characters behold a family emerge from the forest’s shadows, accompanied by an elephant. Unusual for a thriller, The Passion of Darkly Noon is pregnant with significant subtext.

Playwright turned filmmaker Philip Ridley addresses unrequited love, sexual repression, perversion and jealousy, whilst examining the corollaries of blind conformity. The film is populated with fairytale-like figures, from Viggo Mortensen as mute carpenter Clay, to Lou Myers as the eccentric, verbose undertaker Quincy. Boasting an explosive climax, The Passion of Darkly Noon’s hallucinogenic artistic accomplishment and thematic potency is deserving of far more attention than it has so far received.

3. The Immortals (1995)

Nightclub owner Jack (Eric Roberts) recruits eight criminals to synchronously commit four different heists. Jack’s mafioso boss (Tony Curtis) suspects it was Jack who orchestrated the robberies and invades his nightclub. The cast includes: Chris Rock, Tia Carrere and William Forsythe.

Superficially, The Immortals is an action-packed, funny caper movie, distinguished by its depiction of multiple heists. What is more, it is stylish, with the slick costumes and evocative set design condensing the coolness of 1990s fashion. That said, The Immortals differs from other crime movies for its message. For the four heists, Jack strategically pairs opposites together. A sexist with a woman, a homophobe with a homosexual, a racist with an African American and an intellectual with a mentally disabled man.

At first, the pairs clash, with the prejudiced member expressing their ignorance and stigma. As the movie progresses, however, they begin to develop affection, understanding and empathy for one another. As a result, The Immortals gives the audience the experience of questioning their own preconceptions of different people. Therefore, The Immortals is an important movie to watch, as it encourages humanity, unity and understanding in the face of diversity.

4. Heaven’s Burning (1997)

Midori (Youki Kudoh) runs away from her new husband (Kenji Isomura) only to be taken hostage during a bank robbery. Whilst on the run, Midori begins to fall in love with her captor, Colin (Russell Crowe).

Heaven’s Burning is an Australian rendition of the neo-noir road movies of 1990s American cinema, such as Wild at Heart (1990) and True Romance (1993). It contains all the trappings one would expect from the genre: a bank heist, a cool vintage car, vengeful gangsters, motels and shootouts. It substitutes the Mojave Desert with the outback, coloured with ironic Australian humour, especially through a wheelchair-bound accordionist.

One particularly interesting character arc sees a straight-laced Japanese businessman mutate into a murderous biker. Whilst moving at an energetic pace of whirlwind violence, at heart, Heaven’s Burning is a highly romantic movie. Russell Crowe and Youki Kudoh (known for starring in Jim Jarmusch’s Mystery Train) forge touching chemistry on a mythic scale, echoing Badlands (1973) and Romeo and Juliet.

5. City of Industry (1997)

Four criminals commit a successful jewellery store robbery. Skip (Stephen Dorff) kills two team members and escapes with the jewels. Roy (Harvey Keitel) tries to track Skip down and reclaim his share.

On the surface, City of Industry is a gritty variation on the caper genre. Rather than detailing a police chase, it sees a criminal pursuing another member of his crew. Refreshingly, it is set amongst the world of Chinese triads, rather than the usual mafia choice. City of Industry’s Generation X style and ‘90s soundtrack are complimented by a cool, conniving performance from Stephen Dorff. Lucy Liu and Elliot Gould also make cameos.

However, though it is not explicitly stated, City of Industry has a palpably existential undercurrent. This is brought to life by Harvey Keitel’s intelligent, layered acting, where he expresses loneliness and melancholy. Whilst the plot follows the roadmap of genre, the introspective tone welcomes differing interpretations. Keitel’s emotions are further expressed through the doleful use of neon lighting.

The 2010s has been undervalued as a wonderful decade for cinema. The introduction of digital cameras meant that filmmakers no longer needed the backing of large Hollywood studios to finance film development.

This allowed for many talented artists to express their voice without permission. New auteurs like S. Craig Zahler, Jeremy Saulnier and Mickey Keating became visible, overshadowing the dwindling efforts of mainstream movies with their artistry. This list will explore ten 2010s movies of different genres to recommend to cinephiles.

1. Blue Ruin (2013)

Dwight Evans (Macon Blair) embarks upon a journey to kill the man responsible for his parents’ murder.

Innumerable revenge movies have been produced across cinema history and Blue Ruin is arguably the greatest. What is noticeable about Blue Ruin is its taut, spare and professional storytelling. The writing is exemplary as a consummate linear, three-act story, structured to perfection. Eschewing subplots, Blue Ruin is sharply focused upon its protagonist’s emotional plight.

It plays with the audience, attaining pathos for Dwight’s grief, yet unflinchingly depicting the tragic ramifications of violence. Another way Blue Ruin is triumphant is through its maintenance of tension, keeping the audience hooked from start to finish. Additionally, it favours a rural Virginia and Delaware regionality, over a more glamourised location, contributing to its realism.

2. St. Vincent (2014)

Single mother Maggie (Melissa McCarthy) employs her neighbour Vincent (Bill Murray) to babysit her son Oliver (Jaeden Martell). A friendship blossoms between the mismatched personalities.

St. Vincent is an excellent use of Bill Murray’s supreme comedic talent. Like the film itself, his character is cranky and crude on the surface, yet compassionate at-heart. The narrative sees his character complete an arc from isolation and misanthropy towards greater connectedness. Resultantly, St. Vincent is an uplifting, inspirational movie, which encourages greater sensitivity and kindness in audiences. Much of the comedy is sourced from the hero’s inappropriate humour and seedy lifestyle, contrasting with the innocence of the child he is caring for.

3. We Are Still Here (2015)

A grieving couple (Barbara Crampton, Andrew Sensenig) move into a new house. They discover it is haunted by spirits residing in the basement.

Firstly, We Are Still Here is one of the best haunted house movies and horror movies of the 2010s. This is strengthened by the casting of the genre’s icons: Barbara Crampton, Lisa Marie and Larry Fessenden. Essential to a successful horror, the film gradually engenders a brooding, creepy atmosphere. This is achieved through the elegant cinematography of the snowy New England landscape and an incremental increase of unsettling details around the house.

Furthermore, We Are Still Here flourishes because it effectively delivers upon a simple story. Taking influence from Lucio Fulci, director Ted Geoghegan absorbs the mastery of ‘70s and ‘80s horrors, reflected by the film’s period setting. The appearance of the ghosts are additionally original and impactful, further distinguished by their sympathetic backstory.

4. Pod (2015)

Lyla (Lauren Ashley Carter) and Ed (Dean Cates) travel to their family lake house in Maine to stage an intervention for their brother Martin (Brian Morvant). He claims that he has captured a monster in the basement.

Pod is proof that good writing can trump a large budget and an A-list cast. It is as much a significantly character-driven family drama, as it is a contained, suspenseful sci-fi horror. Pod is thematically thought-provoking, addressing PTSD in and the marginalisation of military veterans, as well as the stigmatisation of mental health issues. Whilst reminiscent of Signs (2002), Pod is worth watching for its more emotional, dramatic approach to sci-fi, whilst many of the genre’s titles are merely plot-centric.

5. American Made (2017)

Whilst flying for the CIA, pilot Barry Seal (Tom Cruise) starts working as a drug smuggler for the Medellín Cartel.

The best thing about American Made is Tom Cruise’s performance. He crafts a more comedic portrayal than usual, evidenced by his charismatic character’s redneck bravado. As a qualified pilot, Cruise performed the daring aeroplane stunts which punctuate the movie. Meanwhile, the fascinating Caleb Landry Jones supplies another dangerously unhinged turn, expanding upon his work in War on Everyone (2016). American Made’s Scorsese-esque rise and fall narrative offers a different perspective on the Pablo Escobar story, comically indulging in 1980s decadence. Moreover, the screenplay delves into governmental corruption and complicity with criminality.

During the 1970s, Hollywood took chances on auteurs to produce artistic epics. However, after the cataclysmic, over-budget disaster of Michael Cimino’s Heaven’s Gate (1980), this era came to an abrupt close. Studios reduced directors’ sway, focusing more on commerce, through blockbusters like E.T. (1982) and franchises like Ghostbusters (1984).

That said, this new cinematic landscape did little to stifle cinematic creativity. During the 1980s, directors including David Cronenberg, Lucio Fulci, the Coen Brothers and John Woo emerged as fresh, exciting artists to watch. This list will explore ten 1980s classics that are worth the time of cinephiles.

1. The Fog (1980)

Ghosts surface from the ocean to take revenge upon the town of Antonio Bay.

A prominent strength of The Fog is director John Carpenter’s signature stylisation, assisted DP Dean Cundey’s atmospheric photography. Whereas most zombie movies retread old territory, Carpenter delivers a fresh take on the sub-genre. Similarly, many horror movies serve as mere entertainment. Reflecting Carpenter’s writing talent, The Fog’s message is communicated in its backstory. A hundred years before the film’s events, a leper colony ship was deliberately wrecked. The gold plundered from the ship was used to build the town of Antonio Bay.

This detail transforms The Fog from a simple horror movie, giving emotional charge to the events and provoking thoughtful debate. Jamie Lee Curtis, in her second collaboration with Carpenter, after Halloween (1978), confidently leads the production. Meanwhile, Adrienne Barbeau’s radio announcements stitch together the movie’s episodic character profiles. In addition, unlike the majority of early-‘80s horrors, The Fog is creepy rather than gory, cultivating a chillingly eerie tone.

2. Where the Buffalo Roam (1980)

An adaptation of writer Hunter S. Thompson’s Rolling Stone Magazine articles. Some of the source material includes: Fear and Loathing on the Campaign Trail ’72 (1973) and The Great Shark Hunt (1979).

Before shooting, Bill Murray lived and became friends with Hunter S. Thompson. Their exploits included Thompson tying Murray to a chair and throwing him in a swimming pool, seeing if he could escape. Murray went so far as to say: “I took on another persona and that was tough to shake. I still have Hunter in me.” Due to this research, Murray’s portrayal is far more accurate and comedic than Johnny Depp’s in Fear and Loathing in Las Vegas (1998). Murray captures the infamous writer’s nonchalant debauchery and unique perspective.

Meanwhile, he forges excellent comedic chemistry with Peter Boyle, who plays Thompson’s disappeared sidekick: Carl Lazlo. Using a picaresque ‘storyline,’ Where the Buffalo Roam is informed by Thompson’s political concerns and opinions. By tackling the persecution of the hippies and Richard Nixon’s corruption, like Thompson himself, the movie serves as a countercultural protest. Importantly, it distills Thompson’s gonzo spirit and what he stood for ideologically. Where the Buffalo Roam was scored by Neil Young and directed by Art Linson. Linson would go on to enjoy a career as a producer, bringing titles like Fight Club (1999) and Sons of Anarchy (2008-2014) into fruition.

3. Southern Comfort (1981)

Whilst training in the Louisiana Bayou, the National Guard antagonise the local Cajuns, leading to a cat and mouse chase.

Firstly, Deliverance-inspired Southern Comfort is a classic of the action and survival genres, one of auteur Walter Hill’s best movies. Andrew Laszlo’s cinematography evokes the haunting beauty of the Louisiana bayou, as does Ry Cooder’s slide guitar score. Uniquely, Southern Comfort captures Cajun culture, which has been underrepresented in film. Hill revels in depicting the Cajuns’ parties, cooking, accordion music and spirit of “laissez les bons temps rouler.”

Additionally, proficient character actor Brion James (Blade Runner) delivers one of the only convincing on-screen Cajun accents. Critics have drawn parallels with Southern Comfort and the Vietnam War. Crucially, Southern Comfort depicts both sides of the fight with sympathy, exposing the futility and needless suffering of war. Walter Hill commented: “none of us are quite as good or bad as we construct them.”

4. Liquid Sky (1982)

An alien invader infiltrates New York’s New Wave subculture.

Liquid Sky is worth watching for its stunning aesthetic alone, approaching the sci-fi genre like video art. It is iconoclastic of the 1980s’ garish, androgynous fashion, youth culture and music. Its psychedelic style is achieved through its saturated neon lighting, colourful makeup, synth score and the use of thermal imaging. The unnerving surrealist tone is heightened by the emotionally distant, arrogant, vain characters.

Visually, it has been an inspiration for director Nicolas Winding Refn, who dubbed it “a counterculture film. I love [it]. It’s probably the most accurate movie version of what it was like clubbing in New York at that period. A historical throwback to an era that’s certainly no longer there. It’s a bit like seeing some British film about Swinging London. It’s very unique. It’s a movie I think about a lot.”

5. The Dead Zone (1983)

When he awakens from a five-year coma, Johnny Smith (Christopher Walken) discovers that he has psychic abilities.

The Dead Zone is the perfect marriage between Stephen King’s original writing and David Cronenberg’s direction. The latter’s craft is taut, focused and envelope-pushing, achieving a greater degree of relatable drama and tragedy than his earlier body horrors. This melancholy is expertly articulated by Christopher Walken, who, unusually, does not imbue his performance with humour and cheekiness.

Instead, he excels as a serious, grounded leading man, winning the audience’s pathos. By virtue of Stephen King’s vision, The Dead Zone unsettlingly mixes ordinary domesticity with the untamed malice of the supernatural. It is regarded as perhaps the finest adaptation of the writer’s work. What is more, through Martin Sheen’s diabolical performance, The Dead Zone’s political themes are even more relevant today than they were upon its release.

Some eras are associated with specific genres. For instance, the late-‘70s and early-‘80s were known for their slashers, whilst the 2000s are synonymous with Frat Pack comedies. The 1990s, on the other hand, are often correlated with crime thrillers, notably Pulp Fiction (1994). Conversely, this does not tell the whole story, as every genre experienced excellence in the ‘90s.

There were animated classics like Toy Story (1995), iconic comedies like Dumb and Dumber (1994), sci-fi flicks such as Armageddon (1998) and biopics including Forrest Gump (1994). The ‘90s was an outstanding decade for films of every genre. This list will examine ten 1990s American movies that are worth the time of cinema fans.

1. Raising Cain (1992)

Dr. Carter Nix (John Lithgow) kills mothers and steals their children, so his father can experiment on them.

A highlight of any Brian De Palma movie is his luscious, revolutionary approach to cinematography. DP Stephen H. Burum engineers two especially dazzling scenes: an extended tracking shot through a police station and a slow-motion climax, referencing Battleship Potemkin (1925). The first scene serves to intensify the plot’s mystery, whilst the latter is used to horrifically pinnacle the events in great detail, from multiple angles.

Usually, John Lithgow plays erudite and kindly characters. His recurrent collaborator Brian De Palma gives him the opportunity to fully flex his acting talents. Due to the protagonist’s multiple personalities, Lithgow shocks the audience with his fickle transformations and the frightening depth of his depravity. Overall, Raising Cain has been undervalued as a seminal psychological thriller, one of De Palma’s strongest efforts.

2. Confessions of a Hitman (1994)

Hitman Bruno (James Remar) steals money from his mobster uncle. He escapes across the desert in a limousine, pursued by mafiosi. After finding out he is dying, Bruno seeks redemption for his history of murder.

It is unusual to encounter a piece that takes narrative filmmaking in a radically different direction. Though it begins as a mafia movie, Confessions of a Hitman (A.K.A. Fallen Angels) evolves into a poignant meditation on mortality and friendship. Its feelings of despair and loneliness are heightened by Peter Warrilow’s bleak desert cinematography.

Moreover, they are brought to life through James Remar, who turns his face into a battleground between traumatised anger and reluctant tenderness. Ultimately, Confessions of a Hitman is a transformational film. Its timeline is a process of stripping back life’s trivialities, finally arriving at a warmhearted, more enlightened core. The movie is affecting because it addresses a universal human concern: coming to terms with one’s own death.

3. Love and a .45 (1994)

After a robbery, Watty (Gil Bellows) and Starlene (Renée Zellweger) are forced to go on the run.

Love and a .45 is a prototypical neo-noir road movie, taking inspiration from Bonnie and Clyde (1967) and Badlands (1973). Aesthetically, it is emblematic of hip ‘90s style, whilst its gory violence contrasts with humorous dialogue. Alongside Gil Bellows and Renée Zellweger’s romantic chemistry, Easy Rider’s Peter Fonda makes a cameo as a mute hippie. During the ‘90s, critics took issue with what they saw as ‘Tarantino copycat’ films. Of all of these titles, Tarantino himself considered Love and a .45 the best:

“Love and a .45 was really good. It was very close to True Romance (1993), Natural Born Killers (1994) and Reservoir Dogs (1992) — all combined. That might be the only film that guy ever made, but he had a gift for really funny dialogue.” However, writer-director C.M. Talkington revealed that he was not influenced by Tarantino. What critics fail to notice is that the neo-noir movement was already underway when Tarantino arrived. Tarantino may have been the best of the group, but he by no means spawned the style. It perhaps began with the Coen brothers’ Blood Simple (1984), or even arguably before, with Jean-Pierre Melville’s oeuvre.

4. Broken Arrow (1996)

In the Utah desert, Major Vic Deakins (John Travolta) blackmails the US government with a stolen nuclear warhead. It is up to Captain Riley Hale (Christian Slater) to stop him.

John Woo is heralded as one of the most masterful directors of action movies. In Broken Arrow, his acumen is apparent in the detailed orchestration of the fight scenes. The zenith of this is the thrilling final set piece, which takes place on a train. Woo infuses the operatic and humorous qualities of his Hong Kong heroic bloodshed movies with an American aesthetic and cast. The resulting grandeur effortlessly overshadows the work of American action moviemakers. The suspense is further exacerbated by the looming threat of nuclear apocalypse.

5. One Fine Day (1996)

After their children miss their school trip, single parents Melanie (Michelle Pfeiffer) and Jack (George Clooney) must look after them whilst completing professional obligations. Melanie and Jack reluctantly begin to fall for each other.

One Fine Day is a charming, sweet and breezy rom-com, championing single parenthood. It is strongly recommendable to fans of the genre. At the forefront is Pfeiffer and Clooney’s chemistry and repartee, as well as their likeable, watchable on-screen personas. As the title suggests, the film is set over the course of one day, lending a contained, realistic quality to the narrative.

Critic Bobbie Wygant opined that One Fine Day feels “hip and nineties.” Pfeiffer countered by saying it “feels old-fashioned.” At first, Melanie and Jack do not get on well, their sharp dialogue harkening to the screwball comedies of the ‘40s. Alongside From Dusk Till Dawn (1996), One Fine Day helped Clooney transition from TV to motion pictures.

The 1970s is widely accepted as a peak decade for cinema. Hollywood’s Golden Age, with its stars like Humphrey Bogart, came to a symbolic end after Dennis Hopper’s Easy Rider (1969). The filmmaking mantle had now passed to the next generation.

The 1970s saw the established careers of the New Hollywood auteurs: Martin Scorsese, Francis Ford Coppola, Steven Spielberg et al. Meanwhile, the era was enriched by its blacksploitation, horror, counterculture and art films. This list will recommend ten 1970s movie classics that are certain to delight cinephiles.

1. Rio Lobo (1970)

During the American Civil War, Colonel Cord McNally’s (John Wayne) friend is killed by Confederates. With the help of his new sidekicks, McNally sets out to find the men responsible.

Rio Lobo was the last film of one of America’s preeminent directors: Howard Hawks, responsible for Scarface (1932), His Girl Friday (1940) and The Big Sleep (1946). Director Quentin Tarantino has stated that he will retire after making ten movies. He explains this is because “most directors have horrible last movies. The most cutting-edge artist, the coolest guys, the hippest dudes, they’re the ones that stay at the party too long. They’re the ones that make those last two or three movies that are completely out of touch and do not realise the world has turned on them. I don’t want to make Rio Lobo.”

Rio Lobo may be the last film in the style of Hollywood’s golden age, before New Hollywood conquered cinema. However, it is a far more accomplished and entertaining than Tarantino gives it credit for. With Hawks’ matured mastery, it is more fluid and effective than Tarantino’s favourite of the director’s films: Rio Bravo (1959). Firstly, Rio Lobo’s action set pieces are suspenseful and well-choreographed, specifically the thrilling train sequence at the beginning. Additionally, Rio Lobo has a well-structured script with a textbook premise. John Wayne annexes humour to his cowboy persona, through his exchanges with his associates. The ensemble causes Rio Lobo to excel as both a comedy and an exemplary western.

2. Two-Lane Blacktop (1971)

Two petrolhead drifters (musicians Dennis Wilson and James Taylor) and a hitchhiker (Laurie Bird) race a GTO driver (Warren Oates) across the USA.

One of Two-Lane Blacktop’s most curious features is its strange, meditative, existential atmosphere. It has awkward pauses, philosophical introspection and laconic protagonists. Like Easy Rider (1969), Two-Lane Blacktop is a seminal countercultural classic and one of cinematic history’s most iconic road movies. Stylistically, it is emblematic of the hippie era and its adventurous, bohemian spirit.

More deeply, however, the movie is a haunting expression of director Monte Hellman’s poetic sensibility and uniquely desolate worldview. Concurrently, Warren Oates imbues hillbilly comedy, whilst the ingenious Harry Dean Stanton makes a tragic, heartfelt cameo. The road trip itself serves as a metaphor for the characters’ emotional arcs, their sense of longing and feeling lost.

3. Straw Dogs (1971)

David (Dustin Hoffman) and Amy Sumner (Susan George) reside in a bucolic English village. The builders repairing their house become increasingly more hostile towards them.

Foremost, Straw Dogs is the unsettling, unpredictable peak of explosive grindhouse thrillers. It professes ominous, amplifying tension and shockingly gruesome action. Under the surface, however, Straw Dogs examines the English class system, socialism and a debate over morality. What makes the movie more frightening than a supernatural horror is its plausibility and the implications of its harrowing rape scenes.

As well as perhaps Sam Peckinpah’s strongest directorial effort, it is one of maestro Dustin Hoffman’s most memorable roles. He contributes the skill, nuance and intelligence which have come to characterise his storied career. Intensely visceral and impactful, Straw Dogs strips back human civilisation to primal savagery.

4. The Friends of Eddie Coyle (1973)

Eddie Coyle (Robert Mitchum) is an arms dealer facing life imprisonment. He accepts a bargain to spy on the Boston underworld.

At the forefront of The Friends of Eddie Coyle is Robert Mitchum’s career-best performance. In Out of the Past (1947), Mitchum became known for his hardboiled noir antiheroes, as well as villains, in pictures like The Night of the Hunter (1955). In this film, Mitchum is the antithesis of the cool he previously cultivated. Family man Eddie is tragic, hapless, softhearted and relatable, making him an pertinent avatar for the audience’s emotions.

The Friends of Eddie Coyle is an adaptation of George V. Higgins’ novel. His other work, Cogan’s Trade, was later adapted into Killing Them Softly (2012). True to Higgins’ source material, The Friends of Eddie Coyle is heavily dialogue-driven, whilst adhering to expertly crafted, fast-paced plotting. Capturing a distinct Boston regionality, The Friends of Eddie Coyle is a classic of the genre and one of the most accomplished titles of the 1970s.

5. The Outfit (1973)

Earl Macklin (Robert Duvall) sets out to take revenge against the mafia for the murder of his brother.

Primarily, The Outfit is a solidly entertaining crime movie, with all the gangster, hitman, shootout and caper trappings. It is an adaptation of a Donald E. Westlake novel. The genre-defining plot is elevated by Robert Duvall’s investment, supreme talent and flair for characterisation. He is supported by cult horror-favourite Karen Black, bringing her volatility and emotional intensity.

Undervalued, The Outfit began its life with a lukewarm response, but has since been reappraised. It is particularly recommendable to fans of groovy ‘70s crime movies, in search of their next watch. Moreover, The Outfit is an especial favourite of Quentin Tarantino, who praised it in his book Cinema Speculation. The film has had a noticeable influence upon Tarantino’s neo-noir style.

Although many excellent thrillers are produced annually, the 1990s felt like la belle époque for the genre. In the years after Blood Simple, filmmakers rebelled against the milquetoast mores of 1980s cinema. Taking inspiration from ‘40s noirs, the ‘90s delved into thrillers’ darkest, most provocative recesses. This era’s neo-noir style shared recognisable tropes across different movies. Red convertible road-tripping through the Arizona desert, atmospheric motels, neon-lit saloons, rampant violence, Elvis-like, leather-clad antiheroes. The ‘50s template of the western genre was updated, swapping horses for Cadillacs.

Cinephiles are typically already familiar with this decade’s thriller masters: Quentin Tarantino, the Coen Brothers and Martin Scorsese. On the other hand, a wealth of entertaining thrillers have been lost to the annals of cinema history. This is attributable to their status as direct-to-video or TV movies, being poorly publicised, lacking A-list stars, or receiving limited distribution. There is a never-ending lineup of stalwart movies to be recovered from this decade. This list aims to bring to light forgotten ‘90s titles to satisfy thriller fans.

1. Trouble Bound (1993)

Ex-con Harry Talbot (Michael Madsen) goes on the run across Arizona with waitress Kit Kalifano (Patricia Arquette). Kit is attempting to outrun her mafioso grandmother’s henchmen. She also wishes to get revenge on the man who murdered her father. There are appearances from Billy-Bob Thornton and Seymour Cassel.

With zeitgeist costumes, a neo-rockabilly soundtrack and neon lighting, Trouble Bound is emblematic of ‘90s fashion. Its sumptuous stylishness is supported by its painterly cinematography of desert landscapes. It differs from similar lovers on the run movies because Harry and Kit do not get along at-all well. Typically, the screenplay would have the characters flirting, yet Harry positively despises Kit for much of the film. The repartee between her defensiveness and his amplifying annoyance is where Trouble Bound succeeds as a comedy.

Of all of the titles in his storied filmography, this is the one that best showcases Madsen’s distinctive persona: a neo-noir, B-movie icon of cool. Patricia Arquette is equally legendary, bringing her usual charm and sweetness Similarly, Trouble bound provides her a leading role canvas to express her unique brand of comedy. With its bumbling mobster characters and exhilarating, swerving storyline, Trouble Bound is especially recommendable to fans of Sicilian American mafia movies.

2. The Immortals (1995)

Nightclub owner Jack (Eric Roberts) recruits eight criminals to synchronously commit four different heists. Jack’s mafioso boss (Tony Curtis) suspects it was Jack who orchestrated the robberies and invades his nightclub. The cast includes: Chris Rock, Tia Carrere and William Forsythe.

Aesthetically, with its slick costumes and evocative set design, The Immortals is a time capsule for cool ‘90s pop culture. That said, the movie’s core themes of unity and acceptance are more pertinent today than they were upon its release. In interviews, actress Cate Blanchett has referred to some of her films as “Trojan Horses.” This is where, she divulges, a poignant message is “sneaked in,” under the guise of an entertaining genre picture. The Immortals is a prime example of this technique. For the four heists, Jack strategically pairs opposites together. A sexist with a woman, a homophobe with a homosexual, a racist with an African American and an intellectual with a mentally disabled man.

At first, the prejudiced member of the duo inevitably expresses their stigma. Subsequently, the persecuted individual is repulsed and angered by their behaviour. As the film progresses, however, these pairs forge an unlikely bond. In spite of their differences, they reluctantly begin to understand and develop affection for one another. United by a common enemy, they touchingly empathise and recognise the humanity in the other. They question their prejudices, even becoming close friends. Although The Immortals quenches genre fans with classic tropes, wild action and stylish panache, its message of love, humanity and forgiveness ranks it a cut above brasher thrillers of its ilk. In the contemporary politically-divided climate, The Immortals is particularly valuable for today’s audiences to consider.

3. Black Day Blue Night (1995)

The movie opens with a tarantula crawling across a highway. On a road trip through the southwest, outgoing Rinda Woolley (Michelle Forbes) gives shy Hallie Schrag (Mia Sara, Ferris Bueller’s Day Off) a ride. The women forge an unlikely friendship and pickup a mysterious, seductive hitchhiker named Dodge (Gil Bellows, The Shawshank Redemption). One of them has a past that soon catches up, spiralling into disaster.

Firstly, Black Day Blue Night is an idiosyncratic entry into neo-noir for being especially female-centric and character-driven. Rather than a fast-paced plot, it favours a simple story and a meditative, atmospheric tone, underscored with tragedy. A “hangout movie,” the focus is upon the drifting characters’ romances, conversations and traumas. This provides the players with sufficient space to craft admirable performances. The reflective feeling is facilitated by the soothing chiaroscuro lighting. This is best manifested when a cigarette cherry glows in a car’s darkness, the smoker flashed by lightning. The effect is further realised through the sparsity of the haunting, catchy, reverb blues guitar score.

As usual, under-appreciated maestro J.T. Walsh delivers the film’s most proficient acting work. He plays the sly, snarky, calculating Lieutenant John Quinn. In his complex, nuanced rendition, Walsh continues to prove that his ability is on-par with the most revered names in the business. Nevertheless, the movie’s most memorable character is a Navajo gas station owner, embodied by Thomas Redhouse. Although Black Day Blue Night is his sole IMDB credit, he steals the show with his effortless naturalism and dry wit. 

4. The Long Kiss Goodnight (1996)

In Pennsylvania, Samantha Caine (Geena Davis) is a schoolteacher and mother suffering from amnesia. She has no recollection of anything that transpired before she washed up on a beach, eight years prior. After her past violently arrives at her home, Samantha embarks on a road trip to rediscover her identity. She is aided by private detective Mitch Hennessy (Samuel L. Jackson). Thriller regulars Brian Cox and David Morse also star.

In an interview with Jimmy Fallon, Samuel L. Jackson named Mitch Hennessy his personal favourite of all the characters he has portrayed. He has also stated several times that The Long Kiss Goodnight is his favourite of all the movies he has appeared in. Undeniably, Jackson’s turn as the deadbeat, seedy and wise-cracking Hennessy is the film’s crown jewel. He dispenses consistent comic relief, in what is perhaps Jackson’s funniest performance. Hennessy’s character arc is also particularly heartwarming and inspiring. Additionally, while most actors embody a character with a uniform persona and tone, Geena Davis is tasked with seamlessly transitioning from a smily, folksy housewife into a merciless assassin.

Her mastery of both ends of this spectrum not only makes the film’s progression fascinating, it exemplifies her adept command over the acting craft. The consequence is perhaps the most badass female action hero to-date, surpassing The Bride in Kill Bill. Hidden gem The Long Kiss Goodnight has been criminally unsung and forgotten. It is an unconventionally ideal Christmas movie, whilst containing some of the most riveting set pieces and suspense sequences. A film that deserves to be seen by more people, it should be heralded as one of the greatest action movies of the ‘90s.

5. Top of the World (1997)

Soon-to-be exes Ray (Peter Weller) and Rebecca Mercer (Tia Carrere) are gambling in a Las Vegas casino when it is robbed. Ray is implicated, chased by the police and goes up against the casino’s shady boss, Charlie Atlas (Dennis Hopper). Whilst trying to clear his name, Ray attempts to salvage his collapsed marriage, but Rebecca is now dating Atlas.

Top of the World is a chaotic yet fun action ride, with a memorable theme tune. Using farcical, lighthearted comedy, it professes perpetual, entertaining gunplay and eccentric characters. Moreover, there is a nail-biting climax at the Hoover Dam and an epic car chase of explosions and barrel rolls. Dennis Hopper’s interpretation of the cheeky, sarcastic, yet ominous fat cat casino boss expands upon the relentless villains he brought to life in Blue Velvet and Speed.

Furthermore, Hopper’s then-newfound niche playing cruel authority figures, continuing through Land of the Dead, is ironic, given his former status as a hippie icon. Ray seeing his wife now in a relationship with another, richer man examines jealousy, despair and inadequacy. Thematically, Top of the World debates true love versus financial wealth.

Tonally, the location choice in Top of the World signifies what is known in photography and internet culture as a ‘liminal space.’ The casino’s yellow Regency Revival hotel rooms of bouquet vases and the Memphis Milano-carpeted hallways, in hindsight, invoke the concept’s uncanny “sense of nostalgia, lostness and uncertainty.” The prominent ‘90s nostalgia sentiment is hauntingly felt in the ersatz, cathedral-sized casino floor. This comprises of two-storey plastic trees, internal balustrade restaurants, neon lighting, an interior railway and a faux arbor.

Given that Top of the World was released on the cusp of the 21st century, the liminality of its transient location makes it all the more sentimental for contemporary viewers. The colourful interior design time travels to the recent past. A bygone aesthetic of an arguably more carefree, optimistic era. That being said, the filming location, Buffalo Bill’s in Primm, Nevada, retains the same appearance to this day.

Thrillers have always been hugely popular with audiences and the 2000s were no exception. Filmmakers like Steven Soderbergh and the Coen Brothers continued to produce artful crime offerings. Meanwhile, M. Night Shyamalan emerged as an important storyteller of claustrophobic sci-fi, fantasy and horror thrillers.

While pictures like No Country For Old Men were extolled, many B-movies were unjustly dismissed by critics at the time. With hindsight, rediscovering their forgotten qualities, this list will provide thriller fans with suggestions meriting reconsideration.

1. The Way of the Gun (2000)

Desperadoes Longbaugh (Benicio del Toro) and Parker (Ryan Philippe) kidnap a pregnant woman (Juliette Lewis). She is being paid $1 million to be a surrogate mother for a mafioso’s child. The mafioso sends his bodyguards after the outlaws, chasing them into Mexico. The Way of the Gun was directed by Christopher McQuarrie, Academy Award-winning screenwriter of The Usual Suspects.

Unfairly maligned, The Way of the Gun is in fact the quintessential Benicio Del Toro movie and the height of the neo-western caper. Del Toro’s extraordinarily accomplished, mysterious acting effortlessly carries and bestows value to the film. James Caan and Juliette Lewis are equally brilliant, the latter for her naturalism and emotional depth. Where The Way of the Gun finds inventiveness is, rather than money, a pregnant woman’s unborn child is the object of value amongst gunplay, raising the emotional stakes.

Another of the film’s singular qualities is its restrained, minimalist structure, using few locations. Its atmospheric, contemplative tone is evoked through the melancholic, existential dialogue and grey-green colour palette. The signature is attained during the night in a modernist kitchen of stainless steal and in the bodyguards’ suits. Crucially, The Way of the Gun has probably the best final shootout of any movie. This is filmed in the same location as the finale of Butch Cassidy and the Sundance Kid.

2. Reindeer Games (2000)

Rudy Duncan (Ben Affleck) and Nick Cassidy (James Frain) are friends and prison cellmates. Nick tells Rudy about the love letters he writes to a woman he has not yet met, Ashley Mercer (Charlize Theron). When Rudy is released, Ashely is waiting outside the prison. Rudy pretends he is Nick. Romance blossoms, until Ashley’s outlaw brother, Gabriel ‘Monster’ Mercer (Gary Sinise), believing Rudy is Nick, demands that Rudy works on his heist. Nick was a former employee of a casino Gabriel and his gang wish to rob. If Rudy refuses to help them, he will be killed. Reindeer Games was directed by the renowned John Frankenheimer (The Manchurian Candidate, Ronin).

Poorly received, Charlize Theron went so far as to dub Reindeer Games “the worst film she ever did.” This assessment is unfair, as, though no masterpiece, Reindeer Games is actually an enjoyable, be it derivative entry into the heist sub-genre. It opens with the questions raised by a man in a Santa costume smashed through a car windscreen. Akin to Fargo, Reindeer Games is endowed with a distinct regionality, texturally evoking its Michigan panhandle setting. Reliably, the talents of Ben Affleck and Charlize Theron make for entertaining watching.

They are assisted by always-interesting performances from Danny Trejo and Gary Sinise (Forrest Gump). Usually excelling as respectable authority figures, Sinise displays a very different side. This is noticed in his notorious character’s immense cruelty, during one of the film’s best scenes. Rudy and Ashley are escaping across a frozen lake. Gabriel fires his gun at the ice, cracking it. Rudy and Ashely fall in and get trapped under the ice, unable to find the opening. A Christmas action flick,

Reindeer Games’s array of double-crosses, well-executed genre tropes and revelations are, in fact, sufficient to satisfy thriller fans.

3. Bandits (2001)

Joe Blake (Bruce Willis) and Terry Collins (Billy-Bob Thornton) are west coast-roving bank robbers. They are known as ‘The Sleepover Bandits,’ for taking bank managers hostage in their homes, the night before the robbery. Joe and Terry pickup the quirky Kate Wheeler (Cate Blanchett) and she begins assisting their crimes. A love triangle develops as they are pursued by the cops.

Foremost, Bandits is the ultimate Bonnie and Clyde-style, picaresque heist movie, up there with the sub-genre’s best titles. The editing is an interesting feature, interweaving documentary interviews. It begins with a tense, intriguing flash-forward to Joe and Terry being shot during a caper, before rewinding. When building work is being completed upon their prison, Joe and Terry hijack a steamroller and escape, beginning their bank-robbing spree. Barry Levinson’s (Rain Man) professional direction permits the players to deliver their finest work.

Bruce Willis gives one of his illustrious career’s best performances, as the unshakeably confident Joe. The same is true of Billy-Bob Thornton, expertly bringing to life the nervous Terry. Terry has a long list of ailments and phobias. One of them is a fear of antique furniture: Thornton’s real-life phobia. Such individuality and realism is attributable to the great detail of the screenplay’s well-realised character studies. Thematically, it examines insecurity and self-esteem. Typically, Cate Blanchett is the film’s acting highlight. Her stupendous work reasserts why she is undeniably one of the world’s finest actresses. It is a joy to watch these superlative actors’ comedic exchanges, in what is un unfairly criticised opus from Levinson.

4. 29 Palms (2002)

Using a structure similar to Richard Linklater’s Slacker (1990), a bag of money serves as the main character. The bag is initially possessed by Jeremy Davies’ ‘The Drifter.’ It then changes hands across a violent cast of colourful characters.

With its premise, interweaving story and archetypal gangsters, 29 Palms is Tarantino-esque. This is also true of its stylish neo-noir cinematography. Making use of fluorescent casino lighting, it lushly portraits the nature and Native American culture of the southwest. 29 Palms is enlivened by cult legends Keith David (The Thing) and John Polito (The Big Lebowski).

However, Michael Rapaport (True Romance) is the comedic highlight, with his oddball, street-wise, New York babbling persona. Meanwhile, Russell Means brings authority and gravitas to his role as the casino boss. Another feature of 29 Palms’s enjoyability is its innumerable series of twists and double-crosses, maintaining consistent excitement and suspense. With lots of action, witty dialogue and personality, 29 Palms is an under-praised, B-movie hidden gem.

5. Steal (2002)

Steal concerns a band of outlaws, led by Stephen Dorff. They escape bank robberies using roller-skates and snowboards.

Badly reviewed, Steal actually has a lot to offer heist fans. Like its electronic score, the textbook storyline is paced to a sprinter’s pulse, with impressively choreographed action sequences. With its MTV editing, costumes and hair and makeup, Steal typifies the vibrant, freewheeling cultural atmosphere of the early-2000s. Stephen Dorff is also underestimated. In movies like this and City of Industry, he builds a watchable, nonchalant and impulsive action hero reputation, deserving of more mainstream notice.

The 2010s saw the rising popularity of streaming. In the past, independent films would drift into obscurity. Now, there are platforms upon which lesser-known titles can be recommended to film fans all over the world. Lost gems are being rediscovered and fresh pictures from unknown directors are lauded. Whereas mainstream studios can be creatively restrictive, streamers give the indie scene the opportunity to continue producing challenging and unusual work.

2010s thriller films were commanded by the works of David Fincher, Scott Cooper and Nicolas Winding Refn. Cooper captured the zeitgeist in Out of the Furnace (2013). His portrait of the Rust Belt undergoing economic hardship addressed the wake of the 2008 financial crisis. The same year, Harmony Korine distilled the spirit of 2010s pop culture, with his impressionistic visual poem: Spring Breakers. However, this list will tour ten underrepresented 2010s thrillers worthy of greater praise.

1. The Killing Jar (2010)

A diner full of customers are taken hostage by a gunman (Michael Madsen). He later suspects that one of them is a bloodthirsty murderer.

Like a theatre play, one of this mystery’s satisfying qualities is its minimalist, contained nature, taking place over one night in the diner. Successfully stretching suspense, the ‘whodunnit’ plot keeps the audience guessing until the end. The Killing Jar should be the go-to movie when thinking of Michael Madsen. His mythic, gravelly-voiced, tough guy technique is sufficiently fascinating to carry the film.

What makes Madsen a notable villain is his restraint, subtlety, presence and intrigue. Silently dominating the space, he takes long pauses to accumulate menace, calmly whispering threats. Compellingly, his acting pairs quiet sensitivity with brooding violence. Meanwhile, Amber Benson contributes likability, Harold Perrineau: intellect and slyness. Even cult icon Danny Trejo makes a cameo as the diner’s cook. Inaccurately rated, The Killing Jar is conversely a B-movie hidden jewel, with enough twists, flair, story and tension to warrant revision.

2. Flypaper (2011)

A bank is robbed by two groups at the same time. However, teller Kaitlin Nest (Ashley Judd) and customer Tripp Kennedy (Patrick Dempsey) suspect there is a wider conspiracy afoot.

Flypaper was only ever screened in one cinema and grossed little over a thousand dollars. It deserves to be enjoyed by more. A funny, twisting mystery-caper crossover, it was penned by the screenwriters of The Hangover. Octavia Spencer and Dempsey, manifesting his novel character’s nervousness and peculiar obsessions, provide much of the best comedy. However, Flypaper is undoubtedly the quintessential Ashley Judd movie, giving her the chance to present her range of talents in a lead role.

Where the light-hearted Flypaper differs from other heist films is the novelty and added excitement of its untrodden premise. By this token, another source of the movie’s humour is the clash between the tech-armed, professional thieves and the hillbilly amateurs. The buffoonish, trigger-happy duo have no idea what they are doing, irresponsibly using dynamite at any opportunity. Their antics are expertly styled by Tim Blake Nelson, in a Southern part similar to his best work in O Brother Where Art Thou. The screenplay’s subtext, moreover, proves how perceived weaknesses can be transformed into strengths.

3. Trespass (2011)

Extortionists take married couple Kyle (Nicolas Cage) and Sarah Miller (Nicole Kidman) hostage in their home. The thieves desire the diamonds they believe Kyle is concealing inside his safe.

Trespass may not be an excellent film, but it is underserving of a 9% rating on Rotten Tomatoes. It was the last feature directed by noted filmmaker Joel Schumacher (Phone Booth). As one would expect, Nicole Kidman is dependably expert and believable. For Nicolas Cage fans, however, Trespass is a must-watch. Cage’s untamed, hilariously over-the-top quirkiness, contrasting this conventional yuppie role, exemplifies what his cult’s adherents call ‘Cage rage.’

His comedy is reminiscent of the tongue-in-cheek hyperbole of Al Pacino in Scarface. In addition, Trespass’s plot is substantially enthralling, enlivened by the thieves’ discovery that Kyle’s safe is empty. It delves into thriller’s ‘yuppies in peril’ sub-genre, popular in the early-‘90s. The writing also addresses the real estate fallout of the 2008 financial crisis and its psychological impact. Along with its setting’s interior design, this makes it historically emblematic of the 2010s. What is more, Trespass examines the theme of ‘appearance versus reality.’

4. Catch .44 (2011)

Mel (Bruce Willis), instructs his employees (Malin Åkerman, Nikki Reed, Deborah Ann Woll) to intercept a drug deal going down at a diner. Mel betrays the women and tries to have them erased.

As with every film he appears in, Forest Whitaker is Catch .44’s best feature. His acting genius is evidenced by his startling intensity, intelligence and sharpness, owning every scene. He dextrously flits between North and Central American accents, so that the audience is never certain of his character’s true identity. What is more, proficient character actor Shea Whigham is equally as good as Whitaker’s scene partner, adding seriousness and professionalism.

Using a non-linear narrative, Catch .44’s story resembles Pulp Fiction’s climactic scene. Characters are killed, then flashbacks reveal their backstories, attaining tragic pathos. The humid lethargy of the rural Louisiana setting is effectively communicated through the textured production design and thoughtful cinematography. Its style is condensed into a classic scene of a police car, creeping past a symmetrically-framed, noir-lit petrol station.

5. The Bag Man (2014)

Jack (John Cusack) is instructed by his crime boss Dragna (Robert De Niro) to wait at a motel. He is to monitor a bag and wait until further instructions. Dragna prohibits Jack from looking inside the bag. Trouble finds Jack after he helps a blue-haired prostitute called Rivka (Rebecca Da Costa).

During the 2010s, John Cusack dropped his former rom-com persona to star in low-budget thrillers. In an archetypical noir plot, The Bag Man establishes Cusack as an action hero. The simple, focused story, of few, reappearing characters, facilitates the exhibition of Cusack’s talent. He is beguiling and natural, with A-list Hollywood ‘star quality,’.

Occurring over one night, The Bag Man cosily takes place almost exclusively at the motel. Like all great cult movies, Crispin Glover makes a cameo, as a strange motel manager. Although Robert De Niro is miscast, The Bag Man is a perfect watch for neo-noir fans. Supplying all the genre’s most riveting plot points, its admirable delivery should rank it higher than 11% on Rotten Tomatoes.

“3:10 to Yuma was one that I just kept on talking and thinking about after reading it. And I think the reason is because, like in most Westerns, you have the very clear-cut bad-guy/good-guy. However, as the movie progresses, you kind of see that it’s a very fine line that divides these two.”

— Christian Bale

Lazy critics often pontificate assertions like: ‘the western genre is dead.’ They seem unaware of the fact that brilliant western movies are released every year. The genre clearly has an enduring appeal as a fan favourite. 2024 alone saw the release of The Thicket, with Peter Dinklage, and Place of Bones, with Heather Graham. Westerns continue to evolve into new and unexpected realms, such as the sci-fi crossover Cowboys and Aliens (2011). While western fans are comfortable with classics like The Searchers (1956), this list aims to expand their taste. It will reconsider some of the genre’s lesser-known or inaccurately rated titles.

1. Shoot the Living and Pray For the Dead (1971)

After stealing gold bars, Dan Hogan (Klaus Kinski) and his bandits waylay inside the Jackal’s Ranch stagecoach stop. There, Dan meets John Webb (Paolo Casella), who offers to guide the gang to Mexico. Dan is unaware that John holds a grudge against him for what he did to his father.

Firstly, Shoot the Living and Pray For the Dead is remarkably minimalist. With a lean story and structure, it is chiefly contained to one location. Its theatre play nature gives stage to another maniacal performance from Klaus Kinski. Bringing the madness of his personal life, Kinski’s horrific, commanding turn seals his status as one of the 20th century’s most superlative, riveting actors.

The film itself is an exemplary, intense, yet forgotten spaghetti western, featuring a catchy hippie-era soundtrack. It would prove to be an influence on Quentin Tarantino’s The Hateful Eight (2015). In its wider significance, Shoot the Living and Pray For the Dead can be interpreted as a criticism of capitalism. In addition, it may also be analysed to possess parallels to the Vietnam War — at its height during the movie’s release.

2. The Last Outlaw (1993)

A group of former Confederate soldiers rob a bank. When their leader, Graff (Mickey Rourke), leaves one of them for dead, the gang mutinies, absconding with the money. Graff allies with the law to track them down.

A TV movie with a cult following, The Last Outlaw is a who’s who of America’s finest character actors. It is enhanced by the inclusion of Steve Buscemi, Keith David and John C. McGinley. Similarly, as with all his B-movies, the gravitas of Mickey Rourke’s captivating lead ameliorates the generic material. The Last Outlaw is comparable to a desert-set slasher movie, with the characters being picked off one by one. Eschewing substance, the constant action is simply pure entertainment, seen in instances such as a horse galloping through a bank. Resultantly, The Last Outlaw is recommendable to a group of male friends in search of uncomplicated evening viewing.

3. The Quick and the Dead (1995)

In 1881, ‘The Lady’ (Sharon Stone) rides into the desert town of Redemption. She aims to exact revenge upon the mayor, John Herod (Gene Hackman), who was responsible for her father’s death. First, however, she must compete in a shooting tournament. The supporting cast is comprised of Leonardo DiCaprio, Russell Crowe, Keith David and Gary Sinise.

Finally, The Quick and the Dead refreshingly sees the long-overdue casting of a female gunslinger protagonist. That said, much like the rest of his filmography, Hackman’s shockingly cruel, dominant performance is the movie’s prime virtue. Akin to his biblical name, Herod serves as a synecdoche for tyrannical authority figures all over the world. Through him, the innate immorality and unfairness the establishment imposes upon its subjects is exposed and critiqued.

Meanwhile, Leonardo DiCaprio’s characteristically brilliant acting foretokens the success to follow later in his career. What is more, Sam Raimi’s creative, idiosyncratic direction sets The Quick and the Dead apart from similar westerns. This is pertinent in the cartoonish cinematography, incorporating zooms, Dutch angles and sepia colour grading. With Evil Dead II’s (1987) flair, Raimi paints both a homage to and a parody of Sergio Leone’s Dollars Trilogy.

4. From Dusk Till Dawn 3: The Hangman’s Daughter (1999)

Desperado Johnny Madrid (Marco Leonardi) escapes the hangman and kidnaps his daughter. They hideout in a saloon, which turns out to be inundated with vampires.

This straight-to-video production is a prequel to From Dusk Till Dawn (1996), which was written by Quentin Tarantino and directed by Robert Rodriguez. Tarantino pitched the story that would become From Dusk Till Dawn 2: Texas Blood Money. At the same time, Rodriguez pitched the idea for From Dusk Till Dawn 3: The Hangman’s Daughter, selecting P.J. Pesce as its director. Both the second and third instalments were filmed in South Africa. As one would expect, From Dusk Till Dawn 3 is gory, visually-rich, over-the-top fun, entertainingly combining vampire lore with old west cowboys.

It depicts real-life historical figures, including Mexican revolutionary Pancho Villa and author Ambrose Bierce. Danny Trejo appears in every entry of the franchise as the immortal barman. Concurrently, as in Kill Bill Vol. 2, Michael Parks further proves himself to be one of Hollywood’s most unrecognised, yet dexterous talents. Correspondingly, Rebecca Gayheart excels here, enough to catch Tarantino’s attention, casting her in Once Upon a Time in Hollywood (2019). The character Johnny Madrid is referenced in that film. B-movie fans are advised to ignore From Dusk Till Dawn 3’s savage critical reaction, to revel in its fantastical, silly, genre-delivering chaos.

5. Dead Birds (2004)

Bank robbers hideout in a haunted plantation mansion. The cast includes: Michael Shannon, Isaiah Washington and Mark Boone Jr.

Rejuvenating a well-worn genre, Dead Birds stirs in Lovecraftian horror and fantasy. It further differentiates itself from other westerns by being set amongst the Spanish moss of Alabama, rather than the desert. A hallmark of great haunted house movies, Dead Birds succeeds in constructing a spooky atmosphere. This is engendered through the scuttling sound design, shadowy candle lighting and slow camera pans. Although there is a gradual buildup to the action, the eerie tension is sufficiently intriguing to keep its audience engaged. As underrated as the film itself, Mark Boone Jr. consistently supplies interesting subtext to his characters.

As Joseph, Boone exhibits dissatisfaction and brooding anger. Although his character’s backstory remains unexplained, Boone’s detailed preparation alludes to Joseph’s timeline before the movie’s start, how his personality developed. This results in Joseph coming across as a believable character, contrasting the supernatural elements. While Dead Birds is fundamentally grindhouse entertainment, there exists a more serious undertone of racism, looking into antebellum-era slavery. This rises to the surface when William (a white character) says to Todd (a black character): “I saved your life more times than I can count.” Todd retorts: “that don’t make it yours.”