All in all, it's been a good year for thriller movies. No great film has sold well with its thrilling suspense, and there doesn't seem to be much discussion about the genre itself this year. However, this is not to say that there are no exciting films worth watching in cinemas and at home. These are the best thriller movies.
Perhaps no debut this year is more sensational than Michael sarnosky's pig, which claims to be a must see thriller movie in the hot summer. "Little pig" is a distorted film. Looking back, it's easy to see how warm the film is as a whole, but at the moment, "little pig" may be a cold, nervous revenge thriller. It starts with an unexpected and disturbing pig truffle capture, and then a dazzling, fast-paced search for Robin's animal friends. The best episode is Robin's lecture to one of his cooking students. Although the risk is small, it may be one of the most intense scenes of the year and, of course, one of the most profound scenes.
The difference between "little pig" and other thrillers is its tenderness. It can be clearly seen from the beginning of the third act that this is not just a revenge thriller with blood as the climax. But that's why pigs are so talented. Because of genre conventions, because of how movies like Nicholas Cage are usually played, audiences always expect the worst ending. Terrible violence always seems to expose your edge and make you as nervous as a movie, but you end up with much more tragedy and sadness than you expected.
Similarly, Titan has a gentle side. Beneath a cold exterior is a fragile heart. Julia ducournau's second film is a moving meditation on the family, but that doesn't mean it's not just the most disturbing film of the year. No other film this year has the cruelty of Titanic and has such a firm belief to show the action in an unrelenting way. Alexia's war is both disgusting and fascinating. It is so bizarre that it has and will continue to urge the audience to jump up from their seats or stop watching altogether.
Perhaps Titan's greatest feat is how it attacks the audience, even in its cooler moments. The violent impact of liquid, scream and bone fracture at the beginning did not achieve shocking results in the rest of the film. But the first 30 minutes are weapons for the audience. Harsh images, powerful soundtrack and character relationships always seem to be on the verge of collapse. Violence always seems to be about to happen, and dookuno shoots in a way you don't want to see again.
But not all tension comes from head butts between characters or the possibility of violence. For example, boiling point. Philip Barantini's 92 minute visit to a popular restaurant in London is as exciting as any thriller movie this year. Due to excessive pressure, the interaction of "boiling point" has found a source of tension, and more people can connect with it, that is, ordinary work.
Its effectiveness comes from its narrow vision, which only captures the chaos and busy activities in a job that anyone can have. There are no assassins or bullets in the film, but the dialogue and rough dialogue are as powerful as any anti hero. But boiling point has not been hacked to death. It does not abuse editing because it cannot. This is a lens, a seamless journey through the kitchen and all its problems. As a result, the film crackled like the food prepared by the characters in the play. It's full of energy and it's done what it's set to do.