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    Thriller Filme

    Review of: Thriller Filme

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    Rating:
    5
    On 17.08.2020
    Last modified:17.08.2020

    Summary:

    Widersetzt sich die aktuellen TV-Modellen vergeblich.

    Thriller Filme

    Die FE Thriller-Topliste. Die besten und beliebtesten Filme unserer User. Filme aus dem Genre Thriller, die von unseren Usern empfohlen werden. Gangsterfilm von Quentin Tarantino mit John Travolta und Samuel L. Jackson. Mit Pulp Fiction schuf Quentin Tarantino die Mutter aller 'Kultfilme', in dem er. Film ab! Millennium-Klassiker. Das Jahrtausend hat nicht einmal 20 Jahre auf dem Buckel, das Genre aber schon einiges, was unter Klassiker.

    Thriller Filme Auch interessant

    Film ab! Millennium-Klassiker. Das Jahrtausend hat nicht einmal 20 Jahre auf dem Buckel, das Genre aber schon einiges, was unter Klassiker. Horrorfilm, in dem ein junges Paar im abgeschiedenen Strandurlaub von grausigen Kreaturen heimgesucht wird. Genre: Thriller. FSK: ab 16 Jahren. User-​. Entdecken Sie die besten Filme Thriller, als: The Dark Knight, Pulp Fiction, Inception, Fight Club, Sieben. Gangsterfilm von Quentin Tarantino mit John Travolta und Samuel L. Jackson. Mit Pulp Fiction schuf Quentin Tarantino die Mutter aller 'Kultfilme', in dem er. Die besten Thriller - Kommende Filme. Wonder Woman · Free Guy · Tod auf dem Nil · Monster Hunter · Die Croods - Alles auf Anfang · Fatman. Filme, Stars und News suchen und finden im Filmarchiv von CINEMA Online - Genre/Jahrzehnt/Produktionland»thriller«. Die FE Thriller-Topliste. Die besten und beliebtesten Filme unserer User. Filme aus dem Genre Thriller, die von unseren Usern empfohlen werden.

    Thriller Filme

    Gangsterfilm von Quentin Tarantino mit John Travolta und Samuel L. Jackson. Mit Pulp Fiction schuf Quentin Tarantino die Mutter aller 'Kultfilme', in dem er. Entdecken Sie die besten Filme Thriller, als: The Dark Knight, Pulp Fiction, Inception, Fight Club, Sieben. Die FE Thriller-Topliste. Die besten und beliebtesten Filme unserer User. Filme aus dem Genre Thriller, die von unseren Usern empfohlen werden. Green, Mr. Cristi, un politist corupt ajunge Gwendoline Christie Größe aceasta insula pentru a invata limbajul. Vizionare placuta! Un film bine realizat despre perseverenta in atingerea unui ideal, despre principii, in care momentele tensionate, dramatice chiar, sunt indulcite cu cateva Auroren de umor. It follows Dutchman Rex Gene Bervoets as he tries to uncover the fate of his girlfriend, Shania Twain Johanna ter Steege Apollo Kino Ibbenbüren, who disappeared from a rest-stop service station years earlier. Plus, it introduced the world to the cricket-obsessed comedic characters Charters and Caldicott, Extraterrestrial went on to many more films and even a TV series. The art world can be cruel. Two Body To Body archetypes — one blonde, one brunette, natch — Minion Namen Marc Schöttner linked, leading us to question the very nature of identity and reality. Cu putin inainte de reintrarea in atmosfera, echipajul traieste un eveniment inexplicabil ce implica o creatura misterioasa. Thriller Filme

    The killer moment: In the blink of an eye, half the cast is wiped out. The rest press on regardless. It begins with a mystery — drunk salaryman Dae-su Choi Min-sik is abducted and imprisoned for 15 years, seemingly without cause, before emerging both deadened and deadly — and spirals into a labyrinth of seriously bleak secrets.

    The killer moment: Hammer time! The one-take corridor fight has been much-imitated but never bettered. The shoe is just about to drop.

    It follows Dutchman Rex Gene Bervoets as he tries to uncover the fate of his girlfriend, Saskia Johanna ter Steege , who disappeared from a rest-stop service station years earlier.

    The ending is a jaw-dropper. The killer moment: A psychopath practices his abduction techniques, even going so far as to chloroform an imaginary victim in his passenger seat.

    But the undertones are grotesque and still challenging: a story of sexual exploitation, murder, manipulation and state-sanctioned cruelty.

    You, I don't even like. But as it skitters toward that epic denouement, you can only marvel at the elemental power Mann conjures from his simple story of cop Al Pacino and robber Robert De Niro.

    The killer moment: Two titans of crime movies, Pacino and De Niro, meet for the first time onscreen: an elegantly simple diner chat loaded with subtext.

    The killer moment: The granddaddy of hallway scenes has Marvin striding through a nondescript office. His heels echo hypnotically and Boorman takes off, cutting away from the action but never losing that forward momentum.

    Poor thing. Wait until you see this guy, wheeling out of a dark corner with a canned laugh. Taking place over the course of a single night, this grim story of a murder plan gone awry holds us rapt, thanks in large part to the glamorous yet weary visage of screen legend Jeanne Moreau.

    Hitchcock rated this blackly comic suburban thriller as one of his very best, and who are we to argue? The killer moment: In a sweltering office filled with the sound of crickets, the gun goes off.

    Excruciatingly we watch dark red trickle down a white shirt. This Martin Scorsese-produced, Stephen Frears-directed black comedy is one of the strongest adaptations of his work.

    John Cusack plays the lunk in question, a con-man who thinks he can get one over on his own mother, played with delicious savagery by Anjelica Huston.

    Based loosely on actual events, the film brought a bracing verisimilitude to the cop flick, as Popeye bellows and brutalises his way through a criminal fraternity.

    The sequel is every bit as good. The film is bolstered by a number of high-strung set pieces; its combination of slasher-flick imagery, political intrigue and tragedy is intoxicating.

    Pure panache and an admitted inspiration on such nobodies as Jim Jarmusch, Walter Hill and John Woo, Jean-Pierre Melville's cryptic thriller channels an almost abstract sense of fate and beauty.

    At its core is actor Alain Delon's hitman: trenchcoat-clad, chiseled, a dude of few words. He glides through the film as if doomed; there's not an inch of fat on this plot, which never get sentimental, only colder and more aggressively on target.

    The killer moment: Delon's assassin cruises on and off several Metro lines, even jumping a moving walkway to shake several different pursuers.

    The guy is smooth. In his most honest and heartfelt performance, the late Bill Paxton plays Dale Dixon, a small-town sheriff who dreams of escaping to the city.

    The killer moment: The opening home invasion is still shocking in its offhand brutality. The main accusation leveled at Bigelow — that she condoned the use of torture in her depiction of the hunt for Osama bin Laden — is hardly borne out in a deeply unmisty-eyed look at U.

    Only Welles could pull off this literal fracturing of the image so confidently. The allegedly Buddhist opening epigraph is fake writer-director Jean-Pierre Melville simply made it up , but the sense of Zen purity that runs through this flawless French heist movie is wonderfully convincing.

    As lean and meticulous as Japanese calligraphy, this is precision-tooled filmmaking. The killer moment: The silent robbery sequence is a minute master class in sustained tension.

    Mercifully, it happens off-screen. Plus, it introduced the world to the cricket-obsessed comedic characters Charters and Caldicott, who went on to many more films and even a TV series.

    Villeneuve mounts spectacular set pieces the convoy sequence, shot by the great Roger Deakins, is a pulse-pounding standout , while also painting a bleaker picture of the lawless badlands than even Trump can muster.

    Brian De Palma burnishes his Hitchcock fixation to a high sheen in this supremely confident New York City-set thriller, which features something of a surrogate character for the director himself: a teenage tech whiz Keith Gordon obsessed with cameras and spying devices who's bent on avenging the unsolved murder of his glamorous mother Angie Dickinson.

    Trans movies have come a long way since this one. The killer moment: It's one of De Palma's purest sequences of total craft: a wordless flirtation between two strangers at the Metropolitan Museum of Art actually shot in Philly that becomes a missed connection, a painful rejection, then a chase.

    The dramatic world of ballet is fertile ground for an exploration of professional jealousy and obsession. The killer moment: Warring prima donnas grapple in an intense, shape-shifting fight scene.

    With such over-the-top delirium, who could ever think of ballet as prissy? Huge respect is also due to leading man Guy Pearce, who at times seems to be holding the whole project together through sheer force of will.

    Where is Linda Fiorentino these days? Watching her sleek seductress Bridget double-cross an abusive husband and manipulate her naive small-town boy toy with a playful shrug is a turn-on in itself.

    Jane Fonda gives an iconic performance as Bree, a prostitute who finds herself involved in a missing-person case being investigated by the titular detective Donald Sutherland.

    The killer moment: Late at night, Bree lies in bed as her phone rings and rings, and the camera zooms out slowly. Never discount our need to laugh, especially when thrillers are involved.

    Nick and Nora Charles — crime-busting couple, doting dog owners and constant drinkers — are two of the wittiest creations to ever grace the genre.

    William Powell and Myrna Loy were never better than they were in this film and its sequels. The killer moment: All the murder suspects are gathered at a dinner table, as Nick holds court in a big reveal that goes sideways.

    One river. Two canoes. Four manly men well, three and Ned Beatty on a rural getaway that goes dark fast. This is a film that explores the wholesale destruction of natural spaces, the ignorant superiority of city folk, the brutal beauty of the American landscape.

    But return to the scene for its uneasy menace, lingering just under the music. Humphrey Bogart is a Dixon Steele, a tempestuous screenwriter who may have committed a murder in this Hollywood-set slice of noirish excellence.

    Dixon and his neighbour turned lover, Laurel Gloria Grahame , make for a compelling and tricky pair, and the fog of moral ambiguity that surrounds them keeps us on our toes until a dramatic final twist.

    I died when she left me. I lived a few weeks while she loved me. As Hitchcockian as ultra-chic blondes come, the rough-edged murder suspect Catherine Tramell made Sharon Stone an ageless star overnight.

    With her husband Sam Neill stranded on a distant sinking boat, our flame-haired heroine gets resourceful, with plenty of shocks along the way. The killer moment: Husband and wife, each in an unstable vessel, attempt to communicate by radio and every word, barely heard, could be their last.

    Advice: If a pair of preppy strangers appears at your door asking to borrow some eggs, turn them away. Haneke truly believes in indicting our bloodlust; he remade this film, shot for shot, with Naomi Watts in It also made a huge star out of Clint Eastwood, hardened into iconic fury.

    Director Fritz Lang dispenses with his anti-Nazi allegories to craft a byzantine story in which the not-so-good doctor Wolfgang Preiss has every room in a hotel under surveillance.

    A high-angle shot isolates the suddenly motionless car. Its essential theme — the need to seek the truth — exemplifies the chaotic, activism-defined moment in which it was released, and rings urgently true in our era of fake news and government corruption.

    The killer moment: Right-wing thugs in a truck speed toward a circle of protestors and beat a peaceful politician with a club.

    Warren Beatty plays a crusading reporter who takes a deep dive into a secret organisation of political assassins; unwittingly, he has no idea how much they'd like to welcome him among their ranks.

    The killer moment: Beatty's Joe Frady goes for an interview: He's led to a screening room where, Ludovico-style, he's subjected to one of the most radical silent montages ever presented by a Hollywood film.

    Two men meet, entirely by chance. The result is witty, strange and endlessly fascinating. The thrills here leave a high body count, but are tempered by a sizable dose of existentialism, and the reliably great Isabelle Huppert brings welcome mischief to the role of a young mistress.

    Quentin Tarantino tipped his hat to these villains — Mr. Blue, Mr. Green, Mr. Grey and Mr. Unforgivably, the Tony Scott remake ditched the brilliant final twist.

    Leading man Alain Delon is stunning in his first major role, perhaps the epitome of male beauty on screen. The killer moment: The shocking first murder: sun, sex and premeditated stabbing.

    Tokyo, A heat wave rips through the city, and a rookie policeman has his gun stolen by a pickpocket on a crowded trolley. Shamed into action, he pursues the weapon across the city, uncovering a major gun-running ring.

    The killer moment: A spooky raid in which Richard wears a nightmare-inducing gas mask is straight out of an Otto Dix painting. Funny Games director Michael Haneke understands the hidden guilt of the blissful bourgeois, tormented by outside forces — in this case, an unknown stalker with a camera.

    With its improvised dialogue, pin-drop sound design and shocking violence, the result is terrifying, occasionally frustrating and utterly compelling.

    Hounded out of the U. As Frannie, a teacher who becomes entangled with a detective investigating a series of murders, Ryan is basically the opposite of a cute rom-com heroine, and Campion creates a world of sexual menace, thick with violence yet never played for exploitation.

    The killer moment: Early on, Frannie witnesses a woman going down on a man in the back room of a bar.

    This startling, surprisingly graphic moment sets the voyeuristic plot in motion. We need more of them. In some key way the crux of Christopher Walken's spooky, stilted persona, Abel Ferrara's louche gangster picture has come to occupy a central piece of NYC iconography.

    Walken plays Frank White, a vacant-eyed coke lord who, immediately upon release from prison, resumes his high-flying lifestyle — and idle mayoral aspirations — from a headquarters at the swank Plaza Hotel.

    The killer moment: We all know Walken can dance, but you haven't seen how weirdly electric and menacing he can be until you've seen his flapping bird.

    This instalment, the best of the Roger Moore days, is a fantastically entertaining breakwater between those two phases: escapist fun before the gadget-drenched silliness to come.

    Special props go to Ken Adam, the production designer charged with creating an oceanic evil lair on a Pinewood backlot.

    This Melbourne-set crime thriller packs all the energy of an early Scorsese picture, while bringing something fresh and distinctively Aussie to the genre.

    The answer? Characteristically cool, he plays Dave, a California DJ dealing with an increasingly unhinged fan-turned-hookup-turned-stalker Jessica Walter.

    Charles Boyer is the viciously manipulative husband; Ingrid Bergman plays his victimised wife; and the audience is left desperately hoping for the cycle of mind games to finally end.

    Lola Franka Potente needs to find a fortune in 20 minutes or her petty criminal boyfriend gets the chop. Not only does writer-director Dan Gilroy satirise our addiction to gore and fear, but he also darkly rewards the despicable enablers of lowbrow culture.

    Cu putin inainte de reintrarea in atmosfera, echipajul traieste un eveniment inexplicabil ce implica o creatura misterioasa.

    Cosmonautul supravietuitor este pus in carantina intr-o zona izolata din Rusia si o psihiatra controversata din Moscova este adusa pentru a-l evalua.

    Daca trecem peste unele scapari ale scenariului si peste impresia ca filmul este puternic inspirat din filme si seriale americane putem spune ca avem un fata un film SF bine realizat cu efecte speciale de calitate, cu o atmosfera bine conturata si recreata din care suspansul si partial neprevazutul nu lipsesc.

    George lucreaza intr-o zona izolata la un proiect secret ce presupune crearea unui robot umanod animat de inteligenta artificiala. Versiunea a 3-a a robotului este cea mai apropiata de telul sau.

    Si pentru ca am adus vorba de telul sau, va mai spun ca acesta este unul ascuns, care presupune riscuri si o limitare de timp.

    Un film demn de atentia fanilor genului care prezinta o poveste ce permite mai multe perspective si care vine cu un final neasteptat care da peste cap asteptarile privitorului.

    Diavolul pare ca isi baga coada in viata tanarului Arvin care asista la tragedii inca din copilarie. Ajuns adult el va trebui sa confrunte un preot depravat, un cuplu de criminali in serie si un serif corupt in drumul sau spre o viata linistita.

    Filmul are personaje interesante, bine conturate si vine cu o poveste intesata de violenta despre diavolul ce iese la iveala din oameni intr-o comunitate in care credinta aplicata dupa bunul plac si propria interpretare nu numai ca nu ajuta dar devine nociva.

    Puteti viziona filmul online pe Netflix. Howard este inglodat in datorii si nici pe plan personal viata sa nu este tocmai simpla. Aranjamentele pe care el le face cu o serie de cunoscuti si pariurile de tipul totul sau nimic au menirea de a-l scoate din datorii si a-l aduce la liman.

    Insa parca orice intreprinde Howard are doar menire de a-l ingropa si mai rau. Va las sa descoperiti daca va reusi sa iasa din situatiile aproape imposbile in care singur se baga si sa asistati la situatiile tragicomice prin care trece.

    Un film alert, cu suspans pe care il puteti vedea online subtitrat pe platforma Netflix. Avid dupa faima, recunoastere si statut social, Tomasz este dispus sa faca orice ii sta in putere pentru a-si atinge scopul.

    El se angajeaza la o firma de PR unde invata rapid sa lanseze stiri false si atacuri la adresa unor persoane publice si mai apoi la adresa unor politicieni.

    Un film actual, despre manipulare si influenta online-ului si a stirilor false asupra vietilor noastre. Avand un scenariu si o distributie bune, productia poloneza ne arata cum uneltele moderne de manipulare intrate pe mana unor personaje fara scrupule pot avea efecte tragice.

    Un film intelgent care te pune pe ganduri. Oare de ce nu pot oamenii sa se multumeasca cu putin, sa nu faca risipa si sa se gandeasca si la cel de langa ei?

    De ce nu putem privi de multe ori dincolo de interesul propriu? De ce in conditii de stres creierul nostru retpilian preia atat de repede controlul transformandu-ne in fiare si anuland ratiunea.

    Actiunea filmului se petrece intr-o inchisoare in care celulele sunt dispuse pe verticala.

    The killer moment: A stairwell pursuit leads to one of Richard Kimble's cleverest escapes. Playing Judy Barton — or is it Madeleine Elster?

    Two female archetypes — one blonde, one brunette, natch — become inextricably linked, leading us to question the very nature of identity and reality.

    Scorsese brilliantly showcases a troubled mind in a way that makes the audience hold its breath. Here's the pivot point for David Fincher — the inflection at which he transitioned from being a maker of super-stylish Madonna videos into something more substantial.

    But beyond the gloss, the movie feels as subversive as a Fritz Lang thriller, indicting the police as thoroughly as it does its moralising serial killer.

    Andrew Kevin Walker's script contrasts theoretical bookishness with impulsive action, but Fincher's genius is to show those modes for what they really are: survival strategies that only get you so far.

    In the wake of the Joseph McCarthy hearings, filmmakers knew they had just as much to fear from their own government as they did from some shady foreign power.

    Francis Ford Coppola makes art out of paranoia in this tense mystery starring Gene Hackman as Harry Caul, a surveillance expert who becomes obsessed with a recording that ultimately wreaks havoc.

    The killer moment: Rewinding audiotape has never been as compelling as it is here, when Harry listens to his recording again and again until a pivotal line becomes clear.

    An accident results in the most expensive baggage-check fee ever levied. Film noir comes to France the country that first invented the term for a specific kind of Hollywood thriller , as blacklisted American director Jules Dassin turns out a flawless Paris-shot thriller on a budget of about ten centimes.

    Humphrey Bogart and Lauren Bacall bring their legendary charisma to a convoluted tale of criminality filled with noir intrigue. The killer moment: A sexually charged bookstore encounter between Bogart and a bespectacled clerk the unforgettable Dorothy Malone is just as invigorating as any of the wider mysteries presented elsewhere.

    The killer moment: Finally, we see the killer a menacing Raymond Burr —and in a hair-raising flash of identification, he sees us too.

    It follows the true account of an attempted bank robbery on a red-hot summer day. With uncompromising tension and flashes of humour, it also examines the ever-exploitative American media that loves a good circus.

    Many thrillers are beloved; some have become classics. But only one can claim to have kicked off a five-decade-and-counting spy franchise grossing billions of dollars worldwide.

    The killer moment: So hard to pick. Is it our first sight of those gun-barrel opening credits? The first use of the twangy guitar theme?

    The premise itself is a thrill: A jaded photographer David Hemmings may have captured a murder in the background.

    The killer moment: Come for the murder, stay for the greatest mime scene in film history: a tennis game with an imaginary ball.

    If they make it, they get big money. But as the jungle closes in around them, the clammy hand of fear exerts its grip. The killer moment: In the blink of an eye, half the cast is wiped out.

    The rest press on regardless. It begins with a mystery — drunk salaryman Dae-su Choi Min-sik is abducted and imprisoned for 15 years, seemingly without cause, before emerging both deadened and deadly — and spirals into a labyrinth of seriously bleak secrets.

    The killer moment: Hammer time! The one-take corridor fight has been much-imitated but never bettered. The shoe is just about to drop.

    It follows Dutchman Rex Gene Bervoets as he tries to uncover the fate of his girlfriend, Saskia Johanna ter Steege , who disappeared from a rest-stop service station years earlier.

    The ending is a jaw-dropper. The killer moment: A psychopath practices his abduction techniques, even going so far as to chloroform an imaginary victim in his passenger seat.

    But the undertones are grotesque and still challenging: a story of sexual exploitation, murder, manipulation and state-sanctioned cruelty.

    You, I don't even like. But as it skitters toward that epic denouement, you can only marvel at the elemental power Mann conjures from his simple story of cop Al Pacino and robber Robert De Niro.

    The killer moment: Two titans of crime movies, Pacino and De Niro, meet for the first time onscreen: an elegantly simple diner chat loaded with subtext.

    The killer moment: The granddaddy of hallway scenes has Marvin striding through a nondescript office. His heels echo hypnotically and Boorman takes off, cutting away from the action but never losing that forward momentum.

    Poor thing. Wait until you see this guy, wheeling out of a dark corner with a canned laugh. Taking place over the course of a single night, this grim story of a murder plan gone awry holds us rapt, thanks in large part to the glamorous yet weary visage of screen legend Jeanne Moreau.

    Hitchcock rated this blackly comic suburban thriller as one of his very best, and who are we to argue? The killer moment: In a sweltering office filled with the sound of crickets, the gun goes off.

    Excruciatingly we watch dark red trickle down a white shirt. This Martin Scorsese-produced, Stephen Frears-directed black comedy is one of the strongest adaptations of his work.

    John Cusack plays the lunk in question, a con-man who thinks he can get one over on his own mother, played with delicious savagery by Anjelica Huston.

    Based loosely on actual events, the film brought a bracing verisimilitude to the cop flick, as Popeye bellows and brutalises his way through a criminal fraternity.

    The sequel is every bit as good. The film is bolstered by a number of high-strung set pieces; its combination of slasher-flick imagery, political intrigue and tragedy is intoxicating.

    Pure panache and an admitted inspiration on such nobodies as Jim Jarmusch, Walter Hill and John Woo, Jean-Pierre Melville's cryptic thriller channels an almost abstract sense of fate and beauty.

    At its core is actor Alain Delon's hitman: trenchcoat-clad, chiseled, a dude of few words. He glides through the film as if doomed; there's not an inch of fat on this plot, which never get sentimental, only colder and more aggressively on target.

    The killer moment: Delon's assassin cruises on and off several Metro lines, even jumping a moving walkway to shake several different pursuers.

    The guy is smooth. In his most honest and heartfelt performance, the late Bill Paxton plays Dale Dixon, a small-town sheriff who dreams of escaping to the city.

    The killer moment: The opening home invasion is still shocking in its offhand brutality. The main accusation leveled at Bigelow — that she condoned the use of torture in her depiction of the hunt for Osama bin Laden — is hardly borne out in a deeply unmisty-eyed look at U.

    Only Welles could pull off this literal fracturing of the image so confidently. The allegedly Buddhist opening epigraph is fake writer-director Jean-Pierre Melville simply made it up , but the sense of Zen purity that runs through this flawless French heist movie is wonderfully convincing.

    As lean and meticulous as Japanese calligraphy, this is precision-tooled filmmaking. The killer moment: The silent robbery sequence is a minute master class in sustained tension.

    Mercifully, it happens off-screen. Plus, it introduced the world to the cricket-obsessed comedic characters Charters and Caldicott, who went on to many more films and even a TV series.

    Villeneuve mounts spectacular set pieces the convoy sequence, shot by the great Roger Deakins, is a pulse-pounding standout , while also painting a bleaker picture of the lawless badlands than even Trump can muster.

    Brian De Palma burnishes his Hitchcock fixation to a high sheen in this supremely confident New York City-set thriller, which features something of a surrogate character for the director himself: a teenage tech whiz Keith Gordon obsessed with cameras and spying devices who's bent on avenging the unsolved murder of his glamorous mother Angie Dickinson.

    Trans movies have come a long way since this one. The killer moment: It's one of De Palma's purest sequences of total craft: a wordless flirtation between two strangers at the Metropolitan Museum of Art actually shot in Philly that becomes a missed connection, a painful rejection, then a chase.

    The dramatic world of ballet is fertile ground for an exploration of professional jealousy and obsession. The killer moment: Warring prima donnas grapple in an intense, shape-shifting fight scene.

    With such over-the-top delirium, who could ever think of ballet as prissy? Huge respect is also due to leading man Guy Pearce, who at times seems to be holding the whole project together through sheer force of will.

    Where is Linda Fiorentino these days? Watching her sleek seductress Bridget double-cross an abusive husband and manipulate her naive small-town boy toy with a playful shrug is a turn-on in itself.

    Jane Fonda gives an iconic performance as Bree, a prostitute who finds herself involved in a missing-person case being investigated by the titular detective Donald Sutherland.

    The killer moment: Late at night, Bree lies in bed as her phone rings and rings, and the camera zooms out slowly. Never discount our need to laugh, especially when thrillers are involved.

    Nick and Nora Charles — crime-busting couple, doting dog owners and constant drinkers — are two of the wittiest creations to ever grace the genre.

    William Powell and Myrna Loy were never better than they were in this film and its sequels. The killer moment: All the murder suspects are gathered at a dinner table, as Nick holds court in a big reveal that goes sideways.

    One river. Two canoes. Four manly men well, three and Ned Beatty on a rural getaway that goes dark fast. This is a film that explores the wholesale destruction of natural spaces, the ignorant superiority of city folk, the brutal beauty of the American landscape.

    But return to the scene for its uneasy menace, lingering just under the music. Humphrey Bogart is a Dixon Steele, a tempestuous screenwriter who may have committed a murder in this Hollywood-set slice of noirish excellence.

    Dixon and his neighbour turned lover, Laurel Gloria Grahame , make for a compelling and tricky pair, and the fog of moral ambiguity that surrounds them keeps us on our toes until a dramatic final twist.

    I died when she left me. I lived a few weeks while she loved me. As Hitchcockian as ultra-chic blondes come, the rough-edged murder suspect Catherine Tramell made Sharon Stone an ageless star overnight.

    With her husband Sam Neill stranded on a distant sinking boat, our flame-haired heroine gets resourceful, with plenty of shocks along the way.

    The killer moment: Husband and wife, each in an unstable vessel, attempt to communicate by radio and every word, barely heard, could be their last.

    Advice: If a pair of preppy strangers appears at your door asking to borrow some eggs, turn them away.

    Haneke truly believes in indicting our bloodlust; he remade this film, shot for shot, with Naomi Watts in It also made a huge star out of Clint Eastwood, hardened into iconic fury.

    Director Fritz Lang dispenses with his anti-Nazi allegories to craft a byzantine story in which the not-so-good doctor Wolfgang Preiss has every room in a hotel under surveillance.

    A high-angle shot isolates the suddenly motionless car. Its essential theme — the need to seek the truth — exemplifies the chaotic, activism-defined moment in which it was released, and rings urgently true in our era of fake news and government corruption.

    The killer moment: Right-wing thugs in a truck speed toward a circle of protestors and beat a peaceful politician with a club.

    Warren Beatty plays a crusading reporter who takes a deep dive into a secret organisation of political assassins; unwittingly, he has no idea how much they'd like to welcome him among their ranks.

    The killer moment: Beatty's Joe Frady goes for an interview: He's led to a screening room where, Ludovico-style, he's subjected to one of the most radical silent montages ever presented by a Hollywood film.

    Two men meet, entirely by chance. The result is witty, strange and endlessly fascinating. The thrills here leave a high body count, but are tempered by a sizable dose of existentialism, and the reliably great Isabelle Huppert brings welcome mischief to the role of a young mistress.

    Quentin Tarantino tipped his hat to these villains — Mr. Blue, Mr. Green, Mr. Insa parca orice intreprinde Howard are doar menire de a-l ingropa si mai rau.

    Va las sa descoperiti daca va reusi sa iasa din situatiile aproape imposbile in care singur se baga si sa asistati la situatiile tragicomice prin care trece.

    Un film alert, cu suspans pe care il puteti vedea online subtitrat pe platforma Netflix. Avid dupa faima, recunoastere si statut social, Tomasz este dispus sa faca orice ii sta in putere pentru a-si atinge scopul.

    El se angajeaza la o firma de PR unde invata rapid sa lanseze stiri false si atacuri la adresa unor persoane publice si mai apoi la adresa unor politicieni.

    Un film actual, despre manipulare si influenta online-ului si a stirilor false asupra vietilor noastre. Avand un scenariu si o distributie bune, productia poloneza ne arata cum uneltele moderne de manipulare intrate pe mana unor personaje fara scrupule pot avea efecte tragice.

    Un film intelgent care te pune pe ganduri. Oare de ce nu pot oamenii sa se multumeasca cu putin, sa nu faca risipa si sa se gandeasca si la cel de langa ei?

    De ce nu putem privi de multe ori dincolo de interesul propriu? De ce in conditii de stres creierul nostru retpilian preia atat de repede controlul transformandu-ne in fiare si anuland ratiunea.

    Actiunea filmului se petrece intr-o inchisoare in care celulele sunt dispuse pe verticala. Mancarea coboara la fiecare nivel cu ajutorul unei platforme.

    Il puteti viziona in aceasta perioada online pe Netflix. Stephane este politist si tocmai a fost transferat in Paris si incadrat intr-o brigada ce lupta cu criminalitatea in Montfermeil.

    O patrulare de rutina ia o turnura dramatica cand actiunile politistilor sunt filmate cu o drona si inregistrarea are potentialul de a declansa o revolta in cartier.

    Un film dinamic, cu suspans si mesaj moralizator care s-a bucurat de multiple nominalizari si premii, inclusiv la Oscar. Mesajele lui Victor Hugo din romanul cu acelasi nume cu al filmului sunt inca de actualitate iar marginalizarea si discriminarea celor altfel decat majoritatea continua si in zilele noastre.

    Cristi, un politist corupt ajunge pe aceasta insula pentru a invata limbajul. Scopul este acela de a comunica codat cu membrii unui grup mafiiot in timpul unei oeratiuni de scoatere din puscarie a unui traficant care detine informatii pretioase.

    Filmul reuseste sa iasa din fagasul filmelor romanesti, oferind o actiune captivanta, interpretari bune, imagine si sunet de calitate si nu in ultimul rand scene nud cu fotomodelul Catrinel Marlon Menghia :.

    Filmul insa nu s-a bucurat de succesul anticipat de media. Va las sa descoperiti singuri de ce. Terorizata de acesta, Cecilia resuseste sa evadeze din caminul conjugal si la putin timp ia la cunostinta ca partenerul ei a murit.

    La scurt timp insa dupa primirea vestii, o serie de evenimente ciudate ce se petrec in jurul ei o fac sa suspecteze ca fostul ei partener nu este mort si ca nu a scapat inca de sub teroarea lui.

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