95 Best Suspense Movies Of All Time Ranked

Few things can beat that feeling when a movie has you completely under its spell — simultaneously making you desperate to see what happens next while also fearful of what that might be. Suspense or thriller movies offer this veritable knife-edge sensation, with perfectly timed reveals, moments of often uncomfortable silence, and the ability to keep you guessing until the opportune moment when everything comes crashing down.

From the Master of Suspense, Alfred Hitchcock, to a recent Oscar-winning sensation, the genre is the gift that keeps on giving and ensures that movie fans keep coming back for more. The beauty of suspense films is that they can take place anywhere at any time, playing with a variety of subgenres including political, war, noir, Westerns, and horror in order to keep things fresh.

Some suspense films favor the all-out assault on the senses, resulting in relentless white-knuckle thrills, while others adopt more of a slow-burn approach, gently luring audiences in with layers of tension and a series of flawlessly placed revelations. The best suspense films are sometimes best entered into knowing as little as possible so beware of spoilers that might lie ahead as we have a look at some of the very best suspense movies out there.

In this dark thriller, Christian Bale transforms into machinist Trevor Reznik, an insomniac riddled with paranoia who begins to experience terrifying delusions. The sight of an emaciated Bale — who lost more than 60 pounds for the role (via The Huffington Post) — would be stark enough on its own, but the film matches his unnerving performance with jarring imagery and hallucinatory elements.

The suspense builds throughout "The Machinist" as we start to wonder what's real and what's being created by Reznik's fractured state of mind, with the chilling uncertainty this creates being incredibly effective. "The Machinist" is admittedly bleak, but the bittersweet ending is one that offers unexpected comfort and resolution for the guilt-ridden and sleep-deprived Reznik. Bale remains the highlight of the film, and his committed, harrowing performance guides us through this nightmarish world.

In "Nocturnal Animals," Amy Adams delivers a stunning performance as Susan Morrow, the owner of an art gallery who reflects on the relationship with her ex-husband (Jake Gyllenhaal) while reading his latest novel. The book is dedicated to Susan, but she's shocked to discover its violent and devastating contents, as well as her ex's motivations in writing it for her.

There are two stories that run in parallel in "Nocturnal Animals," with the glossy world of Susan contrasting with the dark and gritty novel that's brought to life as she reads it. There's increasing overlap between the novel and the real world — with Jake Gyllenhaal crossing over between both stories — creating a level of intrigue and a sense of the lines blurring as we wonder how much of the novel is based on truth or not. As the second directorial effort from fashion designer Tom Ford, "Nocturnal Animals" is at times beautiful and aesthetically pleasing, something that provides a shocking juxtaposition with the dark and sinister story.

In the wake of the Kennedy assassination, "The Parallax View" offered a timely, paranoid thriller about a reporter investigating an organization that targets political figures. Joe Frady (Warren Beatty) is informed by ex-girlfriend and television journalist Lee Carter (Paula Prentiss) that witnesses to the assassination of a presidential candidate three years prior are being targeted. While Frady is initially skeptical, when Carter is found dead, he has no choice but to try and discover the truth.

"The Parallax View" could be seen as an effective companion piece to another film from director Alan J. Pakula, "All the President's Men," which came two years later. After all, both films feature reporters' quest for the truth amidst stories of political conspiracy theories and paranoia. With "Klute," as well, Pakula certainly proved his deftness in directing taut suspense thrillers, and the charismatic performance from Beatty as the investigative journalist makes "The Parallax View" an enjoyable and thrilling film.

Denis Villeneuve's dramatic thriller tells the story of a desperate father, Keller Dover (Hugh Jackman), who takes matters into his own hands when his daughter is one of two young girls abducted. Alongside this, Detective Loki (Jake Gyllenhaal) heads up the investigation and pursues multiple leads, although he doesn't appear to have a lot of information to go on. The question arises of whether either man will discover the person responsible and how far Dover will go to find his daughter.

With an emotionally charged plot, "Prisoners" successfully builds a mounting sense of dread, with Jackman's frantic father resorting to disturbing tactics when he imprisons the prime suspect (Paul Dano). As well as the powerful performances from the two leads, the film also features some memorable supporting performances with Viola Davis and Terrence Howard equally great as the parents of the other missing girl. The difficult subject matter and scenes of torture make "Prisoners" a disturbing watch at times, however, it's an incredibly effective, well-acted, and beautifully shot thriller.

From its memorable and endlessly quotable conclusion to the arresting images of the truly grisly crimes, "Seven" is a film that has the power to stay with you for a long time after. David Mills (Brad Pitt) and William Somerset (Morgan Freeman) are detectives at opposite ends of their careers, with one bringing idealistic exuberance and one the world-wearied experience to the investigation into a serial killer who appears to be working his way through the seven deadly sins in his memorable kills.

Even for a film released in 1995, the gore effects in "Seven" are impressive, and they still hold up to this day. As the detectives investigate each crime scene and the creative interpretations of the seven deadly sins, a palpable sense of dread builds, and as much as you might think you would become desensitized as the film progresses, each one seems to be more shocking than the last. In addition to the strong work from Pitt and Freeman, Kevin Spacey delivers an outstanding performance as the cold, calculating, and impenetrable villain, John Doe.

Bringing a fresh and modern take on the classic H.G. Wells story, 2020's "The Invisible Man" bears little to no resemblance to the 1933 sci-fi film. This time, the focus is on Cecilia Kass (Elisabeth Moss), a woman trapped in an abusive relationship, who manages to escape but subsequently finds she's being stalked by a seemingly invisible figure. Adopting some powerful themes and focusing on the mistreatment of women brings a completely different perspective to the classic monster movie, proving that sometimes all it takes is the bare bones of the story and a new angle to deliver an innovative and exciting remake.

Leaning more into the horror than the science fiction elements, "The Invisible Man" is undeniably scary but also emotional, with Elisabeth Moss' powerful performance keeping the plot grounded. Where elements of the film could've become farcical, Moss manages to sell it completely, making us empathize with her character and allowing her to carry us through the plot involving high-tech invisibility suits and plenty of twists and turns.

If you or someone you know is dealing with domestic abuse, you can call the National Domestic Violence Hotline at 1−800−799−7233. You can also find more information, resources, and support at their website.

Spike Lee's slick heist thriller focuses on Dalton Russell (Clive Owen), an experienced criminal who attempts to pull off the "perfect" heist. But despite every detail being accounted for and always managing to stay one step ahead of the law — even with the best efforts of NYPD negotiator Detective Keith Frazier (Denzel Washington) — things take an even more interesting turn when the bank's founder (Christopher Plummer) asks power broker Madeleine White (Jodie Foster) to protect something in the bank from the criminals.

For a Spike Lee joint, "Inside Man" plays things surprisingly straight, but that's not to say it isn't tremendous fun, and it's great to see the director giving his take on a genre film. The idea of a criminal who's too clever for his own good and so effectively evades capture gives a different perspective to the heist movie genre. Even with the mastermind calling it the perfect heist, our expectations of the genre are that something always goes wrong, and in our anticipation that this is inevitably going to happen here, we're kept in suspense waiting for it to happen ... but will it?

Caleb Smith (Domhnall Gleeson) is a programmer for tech company Blue Book, who wins a contest to visit the home of reclusive company owner, Nathan (Oscar Isaac). However, when he arrives, he learns the contest was a ruse and the real purpose for him being there is to conduct the Turing test on humanoid robot, Ava (Alicia Vikander), to determine whether she's capable of human thought.

"Ex Machina" is slick, stylish, and intelligent sci-fi that also manages to achieve huge amounts of tension through its scarily plausible exploration on the potential for artificial intelligence. The luxurious, technologically advanced home belonging to Nathan is the perfect setting, with the sense of isolation also increasing the levels of danger. Forcing the audience to question everyone's motives and posing many ethical and moral dilemmas, "Ex Machina" is a stark reminder of the beauty and the risk in technological advancement, and in its probing of the "Blade Runner"-esque question of what being human means, it provides much food for thought.

With nods to Martin Scorsese's "Taxi Driver" in its depiction of a trouble loner, Lynne Ramsay's blistering psychological thriller follows Joe (Joaquin Phoenix), an enforcer of undisclosed authority, who's sent to rescue an underage girl that has been kidnapped by sex traffickers. Haunted by the visions of his own childhood abuse, Joe is deeply troubled and appears to be constantly teetering on the brink of psychosis.

As Joe, Phoenix is an imposing screen presence, creating an unnerving feeling with the contrast between the character's dissociative tendencies and his frequent violent outbursts. Both the sound design and the score perfectly match this duality, with the silence often punctuated with deafening bursts of noise and chaos, coupled with Jonny Greenwood's jarring and eerie score contributing to that constant sense of unease. "You Were Never Really Here" packs a lot into a relatively short amount of time, and with each frame carefully considered by Ramsay, it never feels like a second is wasted.

If you or anyone you know has been a victim of sexual assault, help is available. Visit the Rape, Abuse & Incest National Network website or contact RAINN's National Helpline at 1-800-656-HOPE (4673).

With a perfectly timed stomach-churning reveal later in the film, this Korean neo-noir from Park Chan-wook remains as powerful today as it was when it was released in 2003. "Oldboy" tells the story of Oh Dae-su (Choi Min-sik), kidnapped and imprisoned for 15 years, who — following his release — tries to find the identity of the person who held him captive. On this one-man revenge mission, he also encounters the beautiful sushi chef, Mi-do (Kang Hye-jung), who he becomes romantically involved with.

"Oldboy" is a brutal and brilliant thriller, featuring possibly the greatest one-shot action sequence of all time, as Oh Dae-su fights his way through a hallway filled with enemies, armed only with a hammer. Driven by the strong performances — particularly that of Choi Min-sik — "Oldboy" is violent, visceral, uncompromising, and completely brilliant, perfectly balancing the moments of intense brutality with the powerful and rich storytelling. It's an uncomfortable watch in places, yet it's a film you'll keep coming back to again and again.

Based on the true story of the Zodiac killer — a serial murderer who befuddled journalists and the police with his cryptic clues and messages — "Zodiac" is a suspenseful and thorough procedural thriller starring Jake Gyllenhaal, Mark Ruffalo, Anthony Edwards, and Robert Downey Jr. Despite the weighty runtime of 157 minutes and dialogue-heavy story, "Zodiac" effectively conveys the overwhelming feeling of dread and foreboding as the investigators obsess over the details of the intriguing case.

Equally obsessive over the finer points of the case is director David Fincher, with the accuracy and almost clinical attention to detail in the film giving it a gritty, lived-in realism. The sense of frustration as the investigators mull over the impenetrable clues is palpable, and while the case itself was a puzzle, the film manages to make sense of the overwhelming amount of detail in the thorough way it tells the story. Chicago Sun-Times critic Roger Ebert was particularly blown away by the nuances of the film saying, "Its most impressive accomplishment is to gather a bewildering labyrinth of facts and suspicions over a period of years and make the journey through this maze frightening and suspenseful."

Based on the British television series of the same name, "Widows" features an incredible ensemble cast including Viola Davis, Michelle Rodriguez, Elizabeth Debicki, and Cynthia Erivo. Plus, it boasts a uniquely emotional angle on the heist movie genre. When their husbands are killed in a failed robbery, four women inherit their husband's debts and the attention of crime boss Jamal Manning (Brian Tyree Henry) and his dangerously violent brother, Jatemme (Daniel Kaluuya). With no choice, the women are forced to carry out a heist of their own.

Heist thrillers lend themselves to high levels of suspense, and "Widows" is no different. However, there's an undeniable grittiness and sadness to "Widows," as their grief weighs heavily on them, and the heist isn't something they are choosing to do but something they feel they have to do. This emotional layer makes "Widows" an exceptionally powerful film, and giving such meaning to their actions makes it feel even more intense as we're so desperate for them to succeed.

Based on a 1975 novel by Frank Hohimer, "Thief" marks the feature film debut of director Michael Mann, who would go on to direct other action thrillers such as "Heat" and "Collateral." The film stars James Caan as safecracker Frank, who's desperate to escape the criminal world and settle down with his wife, Jessie (Tuesday Weld). But first, he decides to pull off one final heist. While there are plenty of films in the heist genre that focus on the "last hurrah," there's a palpable sense of danger in "Thief" and a philosophical side to Frank's character that acknowledges the potential finality of the job.

With neo-noir inflections, "Thief" is a slick, stylish, and well-paced thriller, with arguably one of the best performances of James Caan's career. It's easy to paint the characters as one-dimensional and focus more on the action in films like this, but there's a genuine sense of pathos to the characters that makes for a much more well-rounded and fulfilling movie. Also featuring a distinctly '80s electronic score from Tangerine Dream, "Thief" is a film that set the bar very high for Michael Mann and proved he'd be one to watch when it came to suspense-filled thrillers.

Alfred Hitchcock made a career exploring the idea of voyeurism in his movies, and Michael Haneke's "Caché" takes this theme and delivers it with a fresh and modern twist. Georges (Daniel Auteuil) and Anne (Juliette Binoche) are a wealthy couple who find their lives turned upside down when some anonymous tapes — suggesting they're under surveillance — begin to arrive at their home. Where films such as "The Conversation" and "Blow Out" rely heavily on the theme of surveillance, they explore the idea of looking at something, whereas "Caché" delves into the terrifying notion of being watched.

Beautifully executed and with impeccable performances from the two leads, "Caché" has an unsettling feeling of ambiguity to it, making for a very different kind of "whodunnit." The matter of who is watching them becomes tangential to even the thought that someone could be watching, leading the characters to admissions and revelations they never would've considered before. Haneke's film thrives on the idea that everyone harbors a sense of guilt about their past and pairing this with the very human fear of being watched results in a highly effective thriller.

Based on the novel by John Godey, "The Taking Of Pelham One Two Three" follows a group of color-codenamed criminals as they hijack a New York City subway car, threatening to kill a passenger every hour unless they receive $1 million, all while police lieutenant Zack Garber (Walter Matthau) desperately tries to negotiate with them and stop the train.

Despite the criminals masquerading under codenames — something Quentin Tarantino paid homage to in "Reservoir Dogs — the character development is surprisingly strong, and Robert Shaw in particular is exceptional at inhabiting former Army man Mr. Blue/Bernard Ryder. Full of action and suspense — exacerbated by the contained and claustrophobic setting of the subway train — "The Taking Of Pelham One Two Three" is a fast-moving and frantic experience with a sharp wit and sizzling dialogue. While it isn't as widely recognized as other gritty '70s thrillers such as "The French Connection" or "Chinatown," it's still an entertaining example of the genre that is well worth your time.

Remade four years later by Martin Scorsese as "The Departed," "Infernal Affairs" is the first of a trilogy exploring the Triads of Hong Kong as two men go deep undercover. Lau Kin-ming (Andy Lau) works for the notorious Triad boss Hon Sam (Eric Tsang) and is tasked with infiltrating the police force, while Chan Wing-yan (Tony Leung) is a young police cadet given a special assignment to operate as a mole within Hon's operation.

More so than Scorsese's film, "Infernal Affairs" achieves its high levels of tension by going down the route of an intelligent and involving character study, particularly of the two undercover operatives. There are all the usual thrills, chases, showdowns, and moments of violence that you would expect, but there's also an emotional complexity as Lau Kin-ming and Chan Wing-yan struggle to face their own identities, represented by each other through their undercover guises. When a story is this strong, it almost doesn't matter how many different versions there are, and in the case of "Infernal Affairs" and "The Departed," each brings something different to the table, resulting in films that can easily stand on their own merit.

Far from the action-packed and stunt-heavy "Fast and Furious" films, "Drive" is a very different breed of thriller, with a neo-noir feel and moments of quiet serenity interspersed with brutal outbursts of violence. Ryan Gosling plays an unnamed stunt driver by day/getaway driver by night whose involvement with his neighbor, Irene (Carey Mulligan), quickly escalates into violence when her husband (Oscar Isaac) is released from prison.

Nicolas Winding Refn's slick direction creates a tangible sense of atmosphere throughout the film, and the quiet, restrained performance of Gosling provides the calm facade that makes the violence even more shocking. "Drive's" ruthless and cold exterior effectively establishes the mood that becomes essential to the way the rest of the film unfolds, and while it makes the movie feel a little impenetrable at times, its morally ambiguous characters and motives are instrumental in creating the carefully calculated sense of tension.

Starring the legendary Sidney Poitier, "In the Heat of the Night" is a thought-provoking thriller that manages to balance carefully orchestrated moments of suspense with its social commentary, resulting in a tense and powerful film. Virgil Tibbs (Poitier) is an African-American police detective mistakenly arrested on suspicion of murder by the racist police force of a small town in Mississippi. While he manages to persuade them of his innocence, Tibbs still has to fight against unfair discrimination as he tries to find the real murderer.

The performance of Sidney Poitier is the highlight of this film, and his defiant delivery of the famous line "they call me Mr. Tibbs!" is a moment that has lived on in cinema history. "In the Heat of the Night" also manages to effectively portray the personal and professional battles of Tibbs, with the dual layer of tension in his struggles against the antiquated views of the police force and his quest for the truth making for an unforgettable and compelling film.

The now infamous twist in the final act may be what cements "The Usual Suspects" as a masterful suspense thriller, but it should also be credited for the exceptional editing and direction leading up to this point. Without the film effectively laying the groundwork as it weaves its dense web of deceit and misdirection, the shocking reveal wouldn't be anywhere near as effective as it is.

As for the plot, when five seemingly unlinked criminals are arrested and brought together in a lineup, they decide to work together to plot their revenge against the police. When it appears that legendary criminal Keyser Söze is also connected with their operation, the race to find out the true identity of the criminal mastermind begins. Full of corruption, riddles, and unexpected turns even before the ending, "The Usual Suspects" is one of those suspense films that feels like a magic trick in the way it misleads and misinforms, and the conclusion demands a second watch just so you can look for those elusive clues.

FBI agent Kate Macer (Emily Blunt) is assigned a high-profile and dangerous assignment, working with government official Matt Graver (Josh Brolin) and the elusive Alejandro (Benicio del Toro) on the Mexico border to find the cartel leaders responsible for the escalating war on drugs. "Sicario" is a tightly wound and thoughtful thriller, one that appreciates the importance of subdued moments interspersed with the more explosive scenes. At times, there's an eerie sense of quiet, making the tension feel at times unbearable, and when the release does come, it's even more impactful.

As well as effectively executing tension, "Sicario" also achieves something on a more visceral, emotional, and human level, demonstrating the toll on those working in a place that's not only dangerous but feels like victories are impossible to gain. Across the board, the performances are exceptional, with Emily Blunt a particular stand-out. Add to this the assured direction from Denis Villeneuve, the blistering score from Jóhann Jóhannsson, and the brutally beautiful cinematography from Roger Deakins, "Sicario" is a film that shatters all the senses.

The premise of "A Quiet Place" is ripe for moments of suspense and tension, with the plot focusing on a post-apocalyptic world where strange creatures attack when they hear a sound. In this terrifying new reality, we follow a family trying desperately to survive. Silence is often key in creating tension as it immediately puts you on a high state of alert and means the slightest noise is going to unsettle you — and for the family in "A Quiet Place," noise can be fatal.

There are several moments in the film that are particularly tense, but perhaps the standout example is when Evelyn Abbott (Emily Blunt) is giving birth in a bathtub as the creatures are in the same house. Terrified of making noise while enduring the pain of childbirth, Evelyn has no choice but to scream silently, and it's excruciating to watch.

This underrated Danish crime thriller only had to wait three years until it received the Hollywood treatment with the Jake Gyllenhaal remake. However, the original version has the slight edge as the stronger film. Asger Holm (Jakob Cedergren) is an emergency services dispatcher whose night shift takes a dramatic turn when he receives a call from a woman who's been abducted.

With all the action unfolding at the other end of the phone, "The Guilty" instead relies on a taut and purposeful script and the excellent performance from Cedergren to convey the tension, and it certainly succeeds. In a compact 85 minutes, the film rarely relents, and you'll find yourself completely gripped. The confinement and total mundanity of the location makes it even more engaging, as there's the sense of helplessness that comes from being at the end of the phone in a highly volatile and dangerous situation.

In a rare dramatic role, Adam Sandler excels as the cocky gambling addict Howard Ratner, a man always on the lookout for the next big score, whether that be a rare gem or a huge win following a risky sports bet. His unquenchable appetite for the next conquest reaches dangerous new heights when he comes into the possession of an extremely rare and beautiful opal — a trinket that catches the eye of the Boston Celtics player Kevin Garnett.

The Safdie brothers are seemingly carving out a name for themselves as the masters of anxiety-inducing cinema, and their frenetic and manic direction matches the unrelenting pace of the film perfectly. It takes a special skill to make a six-way parlay on a basketball game as dramatic and nerve-shredding as this, but somehow, "Uncut Gems" succeeds and holds you in that high state of anxiety from beginning to end.

As the name of this 1960 chiller would suggest, "Peeping Tom" explores the Hitchcockian subject matter of voyeurism that effectively plays on our everyday fears. Mark Lewis (Carl Boehm) is an unassuming loner who works at a film studio and occasionally takes risque photos of women. And, oh yeah, under the guise that he's making a documentary about fear, Lewis plots to kill and film the reactions of the victims as he murders them.

Due to the exploitative subject matter, the film was a failure with critics when it came out, and it garnered a great deal of controversy, with the British Board of Film Classification forced to make significant cuts in order for it to be released. It wasn't until the 1970s that there would be a reassessment of "Peeping Tom," with director Martin Scorsese placing it alongside Federico Fellini's film "8 1/2" saying, "'8 1/2' captures the glamour and enjoyment of filmmaking, while 'Peeping Tom' shows the aggression of it, how the camera violates." With complex characters, and a disturbing perversity, "Peeping Tom" is a film deserving of its reputation as one of the best suspense films.

Loosely based on a true story, this 2012 dramedy is set during the late '70s Iran hostage crisis. When six U.S. diplomats escape the clutches of their would-be captors and hide out with a Canadian ambassador, CIA agent Tony Mendez (Ben Affleck) attempts a dangerous mission to get them out of Iran. How so? By disguising himself as a Hollywood producer who's location scouting for a sci-fi film.

With Ben Affleck also in the director's chair, "Argo" manages to tick many boxes, working as both a taut and exciting action thriller and being darkly comedic in its behind-the-scenes exploration of Hollywood at the time, with a particular highlight being the scene-stealing performances from Alan Arkin and John Goodman as a producer and make-up artist, respectively. The Academy tends to gravitate towards films about making films, so it isn't surprising that "Argo" performed exceptionally well at the Oscars, picking up three awards for best picture, adapted screenplay, and editing.

While it's diminishing to suggest it's the only thing Martin Scorsese can do, "The Departed" is nonetheless an excellent example of the director doing what he does best: gritty, character-driven gangster dramas. A remake of the 2002 film "Infernal Affairs," Scorsese's film moves the action from Hong Kong to Boston, and it's a complex story of two-fold double-crossing with South Boston cop Billy Costigan (Leonardo DiCaprio) undercover with the mob while criminal Colin Sullivan (Matt Damon) infiltrates the police department and reports back to the same mob Costigan is spying on.

While there's a sense of inevitability to the film — we know someone will get caught eventually — this doesn't mean it is completely devoid of surprises, and with the thoroughly nasty Frank Costello (Jack Nicholson) leading the gang, you can always expect the unexpected. As it becomes a race against time to see who will be ratted out first, the tension becomes almost unbearable as things spiral towards their violent conclusion. While he should have won it ten times over by this point, "The Departed" notably marked the first — and only — time that Martin Scorsese has won the Oscar for best director.

Lee Chang-dong's film is one that demands patience, but for those who are willing to immerse themselves, the result is a beguiling and intriguingly ambiguous thriller that claws its way under your skin and stays there for a long time after. The film focuses on deliveryman Jong-su (Yoo Ah-in), who reconnects with his childhood friend, Hae-mi (Jeon Jong-seo), and is asked to look after her cat while she's in Africa. When she returns, she brings with her the enigmatic Ben (Steven Yeun), a dashing and wealthy stranger ... with a penchant for burning greenhouses.

As well as the mysterious characters and strange goings-on in the film, "Burning" prompts you to probe into what's real and what's perhaps imagined, creating a completely unique and very atmospheric suspense thriller. It's rich in subtext and meaning, and while it throws out more questions than it answers, it's wholly satisfying, beautifully executed, and completely riveting.

Packed with incredible stunts and action sequences, "The Fugitive" is a fast-paced, high-impact thriller, anchored by a terrific performance from Harrison Ford. Dr. Richard Kimble (Ford) is on the run from the law after being wrongfully accused of murdering his wife. Desperate to clear his name and find the real killer, Kimble must outrun Deputy U.S. Marshal Samuel Gerard (Tommy Lee Jones), who's determined to bring him to justice.

From the spectacular bus-train collision where Kimble escapes to the jaw-dropping dam confrontation, "The Fugitive" is filled with memorable moments, and yet the spectacle never comes at the expense of the character development. Kimble in particular is a sympathetic figure in an unimaginably stressful situation, and Gerard — far from being a one-note, singularly focused pursuer — develops into a wonderfully well-rounded character who masks his complexities behind his ambivalence. It was his performance as Gerard that earned Tommy Lee Jones an Oscar — one of the seven that "The Fugitive" was nominated for.

Based on a true story detailed in a Life magazine article, "Dog Day Afternoon" channels the almost unbelievable nature of a true-crime tale with manic energy and riveting execution. Sonny Wortzik (Al Pacino) is an amateur criminal who, along with accomplice Sal Naturile (John Cazale), decides to rob a bank in Brooklyn. When things start to go wrong, it evolves into a hostage situation that captures the attention of the media.

One of the fascinating aspects of "Dog Day Afternoon" is the notion of all eyes on the unfolding hostage situation — both us as the audience and the people gripped by the media circus they're seeing on their screens. This adds to the tension, as the inexperienced Sonny and Sal struggle to cope with the pressure as things escalate. Al Pacino is in excellent form in "Dog Day Afternoon," with frenzied, electric energy that perfectly matches the film's tone — acknowledging the absurdity and comedy of the situation which spirals out of control as the film progresses.

With the triple threat of Alfred Hitchcock, Ingrid Bergman, and Cary Grant, you know you're going to be in the safest of hands with 1946's "Notorious." Grant plays government agent T.R. Devlin who recruits Bergman's Alicia Huberman as a spy, and what begins as a working relationship quickly develops into a romantic one as well. To complicate matters, Alicia's mission means she must win the affections of Alexander Sebastian (Claude Rains), one of the leading members of a Nazi group hiding out in Brazil, and Devlin is rendered helpless as she goes deep undercover.

With a brace of excellent performances from Ingrid Bergman and Cary Grant, "Notorious" is a film that thrives on all of its characters' duplicity, and the signature suspense of Hitchcock means at times it's hard to trust anyone. Refreshingly straightforward compared to some other tangled espionage thrillers, "Notorious" doesn't have the same level of action as the later "North by Northwest," but there's still plenty of thrills and some of Hitchcock's most audacious shots ever.

Offering a terrifying glimpse into the warped mind of a killer, 1988's "The Vanishing" is a chilling film that plays on the audience's morbid curiosity of wanting to know what's behind a killer's motives while also revealing the answer is more horrifying than you could imagine. Rex (Gene Bervoets) and Saskia (Johanna Ter Steege) are a young couple enjoying a holiday together when suddenly Saskia disappears. Three years later and still obsessed with finding her, Rex's search eventually leads him to Raymond (Bernard-Pierre Donnadieu), who purports to know what happened to Saskia.

While the 1993 English language remake may have been poorly received, the original remains an unsettling and deeply disturbing film that won the admiration of not just critics but fellow filmmakers, with its director, George Sluizer, revealing in an interview on the Criterion release that Stanley Kubrick called it the most terrifying film he'd seen. With high praise from the man who made "The Shining," you know this is a film well worth seeking out.

A film that's much less about the plot and more about the fun you'll have along the way, Howard Hawks' "The Big Sleep" features performances from two actors at the top of their game, with a chemistry that's enthralling from the start. Philip Marlowe (Humphrey Bogart) is a private investigator hired by a general (Charles Waldron) to resolve the debts of his wayward daughter, Carmen (Marth Vickers). But when Carmen's sister, Vivian (Lauren Bacall), becomes involved, things take a complex turn as bodies start piling up.

"The Big Sleep" feels like a film that epitomizes the phrase "the plot thickens," as it's so fast-moving at times that whenever one possible solution is reached, it offers little resolution and more convoluted questions. That being said, it's sold on the star power of Bogart and Bacall and is best enjoyed when you can just along for the ride and enjoy two actors bringing their A-game. Tim Robey for The Telegraph summarized it best when he said, "'The Big Sleep' is the best scripted, best directed, best acted, and least comprehensible film noir ever made."

As you can probably guess based on the title, "Strangers on a Train" is a Hitchcock mystery that starts off aboard, yep, a locomotive. In this film, Guy Haines (Farley Granger) and Bruno Antony (Robert Walker) are the two titular strangers who meet on the train, with the latter suggesting that they "swap" murders — Bruno killing Guy's promiscuous wife and Guy killing Bruno's estranged father — in order to avoid being considered as having a motive and rendering them unlikely to be suspects. When Guy, who didn't take any of this seriously, fails to hold up his end of the bargain, things take a darker turn when the psychopathic Bruno insists he has to honor their deal.

"Strangers on a Train" is an intriguing film, and along with Hitchcock's trademark suspense, there's a great deal of flair throughout with the use of "double" and "opposite" motifs. Hitchcock's film explores this idea of doppelgangers, and he toys with both the similarities and vast differences between the two men, inextricably linked by their dark pact.

From the familiar opening sounds of John Williams' iconic score to the explosive finale, "Jaws" is so much more than just a shark movie. Beginning in almost slasher movie-style as a great white shark starts picking off the residents of Amity Island one by one and later evolving into an adventurous cat-and-mouse thriller, the one constant is the exceptional way the film executes tension — orchestrated by the young and fearless Steven Spielberg.

As later evidenced in "Jurassic Park" — where Spielberg puts fear in our hearts with just the sight of a trembling water glass — "Jaws" uses our natural fear of the unknown to ratchet up the tension. The mechanical shark that was used in the film was famously unreliable and couldn't be used as prominently as planned, but this happenstance makes the film more exciting, as the anticipation of when and if we might see the shark is what builds the suspense. With the help of the score, the brilliant pacing, and the incredible performances from Roy Scheider, Richard Dreyfuss, and Robert Shaw, "Jaws" succeeds in being both a crowd-pleasing blockbuster and a masterful thriller.

Anthony Hopkins' flesh-crawling performance as Hannibal Lecter makes for one of the all-time great movie villains, and while it veers between psychological chiller and horror, it rarely relents on the tension. Clarice Starling (Jodie Foster) is the FBI's bright-eyed top-performing student, tasked to try and eke out insights from the incarcerated Hannibal, as he may hold information vital to another disturbing serial killer case.

From the moment we're first introduced to Hannibal, you can feel the tension and danger in the air and the sense that Clarice — for all her obvious talent — might be in a situation way above her head. As well as being physically dangerous, Hannibal is also intellectually dangerous, and the way he manages to twist his way into Clarice's mind is just as frightening. This also places the audience in a state of unease, something that makes moments such as the terrifying night-vision scene feel even tenser.

"Rebecca" notably marked Alfred Hitchcock's transition to Hollywood, and not only was it his first American film, but it was the first and only film from the Master of Suspense to win Best Picture at the Oscars. Based on the 1938 novel by Daphne du Maurier, "Rebecca" is a haunting suspense film, filled with gothic thrills and drama of the highest order.

Following the death of his wife, Rebecca, aristocrat Maxim de Winter (Laurence Olivier) meets a woman (Joan Fontaine) in Monte Carlo, and they marry. Eager to please her new husband, the second Mrs. de Winter finds that the spectral presence of the first Mrs. de Winter casts a shadow over the house and threatens her chance of happiness. Much like Otto Preminger's "Laura" that came four years later, Hitchcock's film also uses this idea of the titular woman's absence to build suspense and create an air of mystery that is highly effective.

In 1944's "Laura," when the titular woman is murdered in her apartment, Manhattan detective Mark McPherson (Dana Andrews) is assigned to the case, interrogating her friends and those closest to her, like her fiancé, Shelby Carpenter (Vincent Price). As the investigation continues, McPherson finds he is growing dangerously obsessed with Laura (Gene Tierney), even to the point of falling in love with the deceased woman.

Otto Preminger's film is not only filled with suspense but is psychologically complex, giving a fresh take on obsession through McPherson's unrequited longing for Laura. The fact the film is named for her represents how key Laura is to the film — not just as the victim but as the source of obsession for the detective investigating her murder. Laura as the person, plus the idea of Laura and what she represents, is central to this intriguing and fascinatingly perverse film noir.

With an austere and melancholic mood created from the very beginning, Jean-Pierre Melville's crime drama about lone hitman Jef Costello (Alain Delon) is slick, stylish, and thoroughly absorbing. The idea of a man who operates by his own rules and outside the law is instantly engaging, and the way Costello impassively carries out his kills gives him an undeniable cool factor.

After uncharacteristically failing to tie up all the loose ends after a hit, Costello finds himself going from hunter to hunted, trailed by both law enforcement and the crime bosses he works for. Melville's minimalist style of direction ensures the focus remains on Costello — a classic film noir loner who we consistently root for despite his crimes. With such a pared-back feel, "Le Samouraï" leaves itself open to scrutiny, but there is little to find fault with in this immaculate, suspenseful thriller.

One of the forerunners of the heist movie genre, "Rififi" mainly focuses on the events before and after the robbery. However, the stunning centerpiece of the film — a 30-minute, almost completely silent sequence showing the heist in meticulous detail — is where much of the suspense lies. The lack of dialogue and music and the complete reliance on ambient sounds heightens all of your senses and puts you right on the edge of your seat.

The suspense created in this sequence is hugely effective in setting up the rest of the film, as the laser focus on the heist means just one careless mistake can send everything else tumbling. While the plan itself may have been technically perfect, a simple deviation has massive implications, and positioning the heist in the middle of the film means it doesn't end on the elation of a job well done but instead closes with a sobering reflection of the unflinching brutality of the criminal world.

"Citizen Kane" may have been his masterpiece, but that's no reason to sleep on the extraordinary "Touch Of Evil," directed by and starring Orson Welles, along with an A-list cast that includes Charlton Heston, Marlene Dietrich, Janet Leigh, and Mercedes McCambridge of "The Exorcist" fame. Set in Mexico, "Touch of Evil" is rife with murder, kidnapping, and corruption, and it's an astonishingly brazen film from Welles. 

The explosive opening scene sets the tone, effectively establishing the feeling of panic and to always expect the unexpected — something that continues both in the filmmaking sense and in its sinister plot. As crooked cop Hank Quinlan, Welles is a captivating screen presence, and behind the camera, he's just as mesmerizing, especially with the film's famed tracking shot that follows the path of a car bomb. Surprisingly, the film was a box office flop, and it ended Welles' Hollywood career. However, it has subsequently been re-assessed and appreciated as a bold, innovative, and audacious masterpiece.   

Roman Polanski's take on film noir sees Jack Nicholson as private eye Jake Gittes, who's hired by socialite Evelyn Mulwray (Faye Dunaway) to investigate her husband's extra-marital activities. What unfolds is a murky tale of double-crossing, deceit, and murder that feels like it's paying tribute to the classic film noirs of the 1930s or 1940s while also offering some of the grittiness and cynicism that ran through many films of the 1970s.

The exceptional screenplay — which won an Oscar for Robert Towne — is one that constantly surprises, and just as you think the film is going in one direction, a new layer is uncovered. The more complicated things get, the more the suspense builds, and as the film spirals, there's the devastating sense that as talented as Gittes is, the corruption is too great and too vast to resolve. Its lack of resolution is bitter, melancholic, and undeniably bleak — perfectly summed up in one of the all-time great closing lines.

The last Hitchcock film before Hollywood came calling, "The Lady Vanishes" — much like 1935's "The 39 Steps" — is a distinctly British affair with most of the film's main mystery taking place on board a train. While this mode of transport was romanticized in films like 1945's "Brief Encounter," Hitchcock's film utilizes every corner of the confined and inescapable location to dial up the suspense. And with seemingly no place to hide, it only adds to the ingenuity of the story.

The fleeting relationships that can be quickly formed through the shared experience of train travel prove to be the perfect backdrop for this quick-witted mystery, with the characters being unexpectedly thrown into the kidnap-meets-espionage story and forced to try and make some sense of it. As well as the suspense you would expect, "The Lady Vanishes" also veers into screwball comedy territory, making it one of Hitchcock's more overtly entertaining films.

Four years after his landmark science fiction masterpiece "Metropolis," Fritz Lang delivered the harrowing psychological thriller "M" — a film rich in social commentary and arresting images that still feels frighteningly relevant today. As for the plot of this 1931 thriller, Hans Beckert (Peter Lorre) is a despicable serial killer who preys on young children, and when the locals become aware of his heinous crimes, it sparks a manhunt. 

Lorre's incredible performance as Beckert is equal parts unhinged and devious — the terrifying thing being that he's clearly very good at what he does, and perhaps even more chillingly, he's unable to stop doing it. The film also has a lot to say about how society responds to such universally awful events, with angry criminal gangs searching for Beckert as the police also investigate. Ending with a stark warning about the importance of protecting children, "M" is cynical, jittery, and deeply disturbing. 

Not a million miles away from James Stewart's filibustering final act in "Mr. Smith Goes To Washington," this tense courtroom drama from Otto Preminger proves that a sharp script and a duel of wits can be every bit as thrilling as an action film. It helps when you have an actor as skilled as Stewart steering the ship, and "Anatomy of a Murder" is a testament to him being one of the greatest talents to ever grace the silver screen.

Here, Stewart plays Paul Biegler, a lawyer hired to defend Lieutenant Frederick Manion (Ben Gazzara), who's been arrested for the murder of an innkeeper he alleges raped his wife, Laura (Lee Remick). While the film is lengthy, it's also completely gripping, and once the trial begins, the film holds you firmly to the very end. Hailed as one of the best courtroom dramas ever made, the film was also notable for its frankness and the way it handled taboo subjects — with Variety observing in their review that it contained language rarely heard at this time.

If you or anyone you know has been a victim of sexual assault, help is available. Visit the Rape, Abuse & Incest National Network website or contact RAINN's National Helpline at 1-800-656-HOPE (4673).

When he takes on a seemingly straightforward case brought to him by the taciturn Brigid O'Shaughnessy (Mary Astor), private investigator Sam Spade (Humphrey Bogart) soon becomes involved in a double murder plot and a dangerous labyrinthine web of crime that all seems to be linked to the pursuit of a rare and valuable falcon statuette. 

Each new development in "The Maltese Falcon's" increasingly complex sequence of events sees an escalation in the tension, with the fast-talking script always keeping pace. While the cast members are all at the top of their game, as the hard-boiled and world-wearied detective, Bogart has rarely been better than he is in this film. While "The Maltese Falcon" is a movie with no happy ending, where corruption and criminality are pervasive, it's a hugely influential piece of filmmaking, with Roger Ebert calling it "among the movies we not only love but treasure."

When Marion Crane (Janet Leigh) impulsively steals a large amount of money and goes on the run, she's blissfully unaware that the night she spends in the off-the-beaten-track Bates Motel, will be her last. As well as being renowned for the iconic shower scene — where Marion meets her bloody demise — "Psycho" is notable for maintaining high levels of suspense throughout, right up to the shocking twist ending.

Location is one of the key factors in "Psycho." The Bates Motel and the looming house nearby feel unsettling, with the tangible air of something being not quite right. There is also the awareness that Marion is alone and vulnerable — both in the sense that she's the only guest at the motel and that her circumstances mean nobody knows where she is. While the scares are deliberately sparse, the slow build-up to them means they're even more shocking when they arrive. Few films are as effective in delivering suspense, scares, and surprises as "Psycho." 

Bong Joon-ho's Oscar-winning film may be a relatively recent entry into the pantheon of great suspense films, but as it's made by the man who professes to have seen Hitchcock's "Psycho" more than 50 times (via The Guardian), it isn't hard to see why it's positioned as a contender to some of the all-time greats. "Parasite" focuses on two families  — the poverty-stricken Kims and the wealthy Parks — who are worlds apart and yet find themselves completely reliant on each other for mutual advantage. Sensing an opportunity to improve his family's fortunes, Ki Woo (Choi Woo-shik) poses as an English tutor for the Parks, and it isn't long before the entire family schemes their way into jobs around the house.

Needless to say, this con doesn't exactly go as planned.

The genius of "Parasite" is in the execution and the way it constantly keeps you on your toes, with Bong Joon-ho's deft genre-bending and carefully woven dark comedy and social commentary interspersed with the twists and turns. As the web of deception from the Kim family becomes more and more complex, the suspense is dialed all the way up, leaving you utterly breathless by the time the film's shocking climax unfolds.