20 Best 2024 Thriller Movies to Watch

The journey of transitioning can be tough, but it’s not likely to be as wild as the journey undertaken by the titular rich mob boss of the crime thriller romance musical Emilia Pérez. It’s pretty surprising, with the incredibly stylish and totally unpredictable ways the plot unfolds, all made possible by the ridiculous all-or-nothing methods and means of a Mexican mob, and it’s a delight to see Zoe Saldaña and Selena Gomez feel at home in their respective Spanish-speaking roles. There are certain moments where the film bites off more than it can chew, but the visuals are stunning, the story is daring, and there’s really nothing like Emilia Pérez right now.

It’s always refreshing to see people in esteemed positions let their guard down, not to mention smoke a vape or gossip feverishly, as we mere mortals do. But Conclave is more than just a candid look at what goes down in a process as elaborate as a papal election. It’s a portrait of man’s innate thirst for power. And since it has more to do with humanity than divinity, it’s also rightfully silly. Cardinals are scrambling for votes and fighting over politics. They can be peaceful and reasonable, but they can also be petty and spiteful, just like any person pressured to vote for their future (or just like any person, period). Conclave is far from perfect—its intentions are murky at times and the visuals, though beautiful, are oddly sparse—but it works because no one in the film, not even the protagonist, is infallible. It’s a welcome reminder of our limitations, regardless of faith.

At first, Marmalade just seemed like a good ol’ fashioned Bonnie and Clyde story being told by one inmate to another. As Baron tells Otis about his titular Bonnie in Joe Keery’s Southern drawl, there’s a charming bittersweet romance about a man pushed into crime because of healthcare costs and a compelling Camila Marrone as a manic pixie dream girl-flavored femme fatale. By its own, it’s already an intriguing twist to the film noir plot. But the second half turns this romance into something completely unexpected, pulling an insane set of interconnected plot twists that’s just fun to experience. There are certain moments that could have been tighter, but the performances were great, the images were stunning, and the plot was surprising. It’s such a daring move for first time writer-director Keir O’Donnell.

Given the country’s divisive politics, a second civil war seems plausible, inevitable even. But even though Civil War, the film, takes place in this kind of world, its main focus is on the four journalists who race through the country to get the scoop on a fascist president who’s bound to be ousted anytime soon. We only get hints at the specific causes and developments of the war, but what we do get is an unsettlingly close look at the human toll of it, as well as the realities of reportage—crushing PTSD, ethical responsibilities, and all. It’s a brilliant movie if you set your expectations right.

Often deemed as South Asian John Wick, Monkey Man, of course, has plenty of the stylish action that’s been captivating today’s filmmakers and audiences alike. Dev Patel, now writing and directing alongside leading the film, created a crazy combination of action sequences that mess around with perspective, that’s fuelled by insane choreography, and that take the best from the action thriller greats, but it also mixes in such unique ways, with his one man crusade expanding into an unforgettable folklore-inspired counter campaign against a corrupt, nationalist administration. It’s not a perfect film, but Monkey Man is such a bold debut that marks Patel as a director to watch.

On September 5, 1972, at the Summer Olympics in Munich, Germany, Palestinian terrorists held members of the Israeli Olympic team hostage in exchange for imprisoned countrymen. The ABC Sports team, led by Roone Arledge (Peter Sarsgaard) and Geoffrey Mason (John Magaro), despite their lack of preparation, decided to fully pivot from covering sports to news. The coverage itself was historic—it was the first time a terrorist attack had been broadcast live—and so the film follows the producers, crewmen, and journalists’ efforts in relaying the news. It’s taut, thrilling, and impressively technical. We get to see the ingenuity of the team, the ethical dilemma behind their journalistic choices, and the real consequences of those choices. Like last year’s Civil War, September 5 highlights that uneasy feeling that arises from chasing the story no matter what which, like it or not, effectively dehumanizes conflict and people into mere ratings and numbers. The mistake September 5 makes, however, is that insists on being apolitical even though that avoidance is itself a statement. There are points in the film where, despite loudly declaring they’re only here to cover the news, the characters contradict themselves by favoring one side over the other (this being a big studio film, I suppose you can already tell which side that is). It could use a bit more courage and nuance, but as it stands, September 5, along with films like Civil War, She Said, and Spotlight, is a worthy journalism procedural.

It’s What Inside can seem like another obnoxious movie about adults acting like teens, edited with enough neon glare and social media cuts to make it palatable to a younger crowd. But the horror comedy is more than just streaming fodder; it’s fun, funny, and clever, unfolding like a game night gone terribly wrong. There are romantic entanglements, identity crises, steamy role play, and welcome jabs at our generation’s increasing tendency to replace personality with social media presence. Its critique may not be as sharp as other horror comedies that have come before it (most recently, Bodies Bodies Bodies and The Blackening), so it can feel a bit dated. But it’s still an enjoyable watch, one best seen with friends who you haven’t seen in a long while and who have maybe, once or twice, made you feel painfully, irrationally, (murderously?) jealous.

Juror #2 is the kind of film that doesn’t waste time: it’s immediately compelling as it throws questions about morality, guilt, and conscience straight to your face. There are familiar people in this stacked cast, including Chris Messina and J.K. Simmons, but it’s Nicholas Hoult as the titular second juror and Toni Collete as the ambitious prosecutor who stand out. The weight of the film’s heavy questions lies on their shoulders, and they convey every feeling—from doubt and remorse to exaltation and hope—with painful clarity. I only the film hadn’t taken the easy way out, and that the debate among the jury could have been thornier and trickier, but as it is, Juror #2 is a compelling addition to our book of excellent courtroom dramas.

Produced by M. Night Shyamalan, Caddo Lake isn’t the most shocking thriller out there. It starts slow, suffers from low-budget CGI, and tends to be schmaltzy at times. But it is, overall, a strong and suspenseful film. Once it kicks into gear and finds its rhythm, it turns into something wholly arresting. The plot twists and turns, while the solid performances of Eliza Scanlen and Dylan O’Brien guide you through them. Its folksy setting adds to the mystical feeling the film is gunning for, too. Don’t expect all your questions to be answered by the end of the film, but be prepared to be taken aback by the eerie mystery of it all.

Heretic starts slow and talky, veering into philosophical territory as Hugh Grant’s creepy Mr. Reed drills Sisters Barnes (Sophie Thatcher) and Paxton (Chloe East) about faith and religion. But pretty soon, it turns into an utterly gripping escape thriller and supernatural mystery. Some things about the movie will frustrate you, and even more will have you questioning life itself. But there’s no doubt Heretic will keep you on the edge of your seat, maybe even with one of your eyes half closed.