Vertigo
Vertigo is usually regarded as the greatest achievement of movies. It presents the peak of Hitchcock's persistence in sexual psychology with its dazzling Technicolor. Play Judy Barton - or Madeleine Elster Kim Novak embodies a tortuous femininity. Jimmy Stewart plays "Scotty" Ferguson, a former detective who is more and more fascinated by her, which perfectly subverts the actor's healthy image.It is a classical thriller movie.

Mulholland Drive
David Lynch's unbreakable masterpiece meets at the intersection of Hollywood dream and dream logic. In the crazy quilt town of Lynch, anything can lurk at the corner, whether it is the urban ghoul covered with dirt, the mysterious puppet master wearing a cowboy hat, the reality of division, the hapless mafia or Billy Ray Cyrus wearing a green hat. The legacy of Muhran Road will always be its clarity, but in all the conversations about what it really means, people tend to forget the fact that it is exciting from beginning to end: it is a puzzle box with no answer, and can still be used as a black master, fascinating mystery and ethereal horror story.

Taxi Driver
One of the most iconic and exciting films of the 1970s: Travis Bickle, played by Robert De Niro, is a Vietnam War veteran who later became a taxi driver, fighting with the devil in his heart, which is one of the typical depictions of male fracture. Scorsese shows a troubled mind in a way that makes the audience hold their breath.An interesting thriller movie.

The Third Man
With Vienna after World War II as the background, full of oblique angles and bright shadows, the third person is the perfect work of expressionism. Harry Lyme, played by Orson Wells, who is considered dead by his childhood friend Holly (Joseph Coton), is the best one in the thriller movie. He is a down and out novelist just for the dramatic return. Wells swaggered in the film with calm confidence, and performed many landmark lines with his famous baritone. Of course, suspended animation is a risky proposition, and it is challenging to present it realistically. The director Carol Reid threw us into the fate of Lyme, and we were excited by every plot transition. After watching this fascinating film, you will never see the tunnel or ferris wheel in the same way again (or hear zither music)

Reservoir Dogs
As for Quentin Tarantino's breakthrough, nothing is new: the suit is a pure group of rats, the dialogue is strengthened by Scorsese, and even the plot is extracted from the Hong Kong crime movie "City on Fire". But just like the bomb made by mixing family elements, the result is burning. ReservoirDogs have changed cinemas, and we are still dealing with aftershocks (see the smooth criminals of Baby Driver or the entire career of Martin McDonagh, the three billboard directors, for evidence). But even if these are not true, it is still a pleasant thriller movie, which can be experienced and re experienced: every line is crackling like electricity, every performance is perfect, and every shot feels like a bucket of water. Since then, Tarantino has never been close to it - but neither has anyone else.

Touch of Evil
As we all know, Orson Wells' participation in this extremely vulgar border crime thriller movie was meant to be strictly on camera: he was hired to play the bizarre corrupt Sheriff Hank Quinlan, and that's all. It was Charlton Heston, the star, who lobbied Wells to take over the reins of the director and supported him - at least initially - against Universal Studios' interference. The result is an extremely rich Welles film, which can be accepted by citizen Cain: a cruel and clear sexual crime story; Satire on race and prejudice; Sorrow and lament for the wild and conventional America; And one of the most gorgeous director films of all time - even the dialogue scenes are like ballet. Universal did not notice. They finally re edited the film against Wells' will. It is only in the past 20 years that we have been able to appreciate this masterpiece almost according to the intention of its creator.

The 39 Steps
Alfred Hitchcock's early thriller movie - his best British thriller movie - places a hapless innocent at the center of the spy plot, consolidating many of the hallmarks of the genre. The plot of "wrong person" is Hitchcock's main plot, which automatically throws us into the thrilling stimulus on the screen: will our heroes find a way out of the dangerous world? There are some funny and humorous moments, such as when the hymn in the coat pocket conveniently blocks the bullet, mixed with painful suspense, and of course, a charming blonde (Madeleine Carroll) is in trouble. All these elements together constitute a wild ride, representing one of the most complete prosperity of the master style.

The Maltese Falcon
John Houston's brilliant adaptation of Daryl Hammett's noir thriller movie has many advantages. It is hard to know which parts to praise first: the plot is in full swing; The villains are very slippery (especially the "fat man" in Greenstret, Sydney, and Joel Cairo in Petrol); Mary Astor's snake and scorpion beauty is a kind of sexy and immoral happiness; The nominal black figurine MacGuffin is very iconic, and the prop itself sold $4 million at the auction. (For the 12 inch bird that fell on Humphrey Bogart's foot during the shooting, this is a lot.) What about heroes? Sam Spade is everything you want from a black criminal policeman: the whip is smart, the bite is tight, arrogant, and he is not afraid of the pea shooter you pointed at him. Not even that he is a particularly good person, but that other people around him are much worse than him. Bogie's Spade is the avatar of a new Hollywood hero in the war years: a person who can slip from heroism to annoying people in the same glass of whisky, and then come back.

Double Indemnity
Nowhere is the black thriller movie more symbolic than the story of Billy Wilder, who tells the story of an insurance salesman (Fred McMurray) involved in a cunning plan by a scorpion beauty (Barbara Stanwick) who tries to murder her husband. Watching the shadow of this film and Stanwick's swaggering temptation is like losing yourself in a tough and mysterious world that has affected countless films.