40 Best Thriller Movies on Netflix UK

A crazy, anxiety-inducing thriller that turns Adam Sandler into a thrill-generating machine, which in its own speaks volumes about the rhythm of this movie. It follows a jeweler who gets himself in trouble with what feels like all of New York – a gang, Kevin Garnett (the NBA player), other jewelers, his family, odd twins that appear out of nowhere – everyone. This all happens in the backdrop of him feeling he has “hit big” and is on the verge of receiving a lot of money.

If you watched Good Time, you know what to expect from directors Safdie brothers: excruciating tension that keeps building up when you thought it wasn’t possible. And that might be the only problem with Uncut Gems; the tension doesn’t feel that different from Good Time, and having watched one you can guess where the other one is going.

Horror movies have always been creepier to me when they play on our fear of the “unknown” rather than gore. Under The Shadow does exactly that. The story is based around the relationship of a woman, Shideh, and her daughter, Dorsa, under the backdrop of the Iran-Iraq war. As widespread bombings shake the ground beneath their feet, the two grapple with a more insidious evil that is faceless and traceless, coming and going only with the wind. The movie’s dread-effect plays strongly on feelings of isolation and helplessness. The scares are slow and it’s obvious the director takes great care in making every single second count and in raising the unpredictableness of the action. Like the bombs, the audience never knows when or how the next apparition will materialize. The former is always on the edge of fear, wondering what is no doubt there, but is yet to be shown on the frame. In terms of significance, Under The Shadow features too many symbolisms to count and will most likely resonate with each person differently. But one thing remains relatively unarguable: this is a wonderful movie.

This is the first film directed by actor Macon Blair (so good in both Blue Ruin and Green Room), and while it is shaggy and tonally all over the place, there is a lot to recommend here. First off, I’m a huge fan of the (underrated) Melanie Lynskey, so I was primed to like this movie from the get-go. After Ruth’s (Lynskey) home is broken into, she seeks revenge against the perpetrators with help from her martial arts obsessed neighbor Tony (Elijah Wood, sporting an impressive rat-tail). What starts out as an empowering journey for Ruth & Tony quickly teeters into dangerous and increasingly violent territory. This movie is probably not for everyone, but if you’re a fan of 90s indie films and don’t mind some violence mixed in with your dark humor, then you will enjoy this small, well-acted film.

In the Mexican film A Cop Movie, director Alonso Ruizpalacios mixes fact and fiction, documentary and narrative, to tell the tale of Teresa and Montoya, two police officers whose dreams are dashed by the corruption of their trade and who, eventually, find love and comfort in each other.

Ruizpalacios takes thrilling risks in structuring this genre-bending story—cutting stories into parts, jumping back and forth between the harrowingly real and captivatingly non-real. For all the experimental maneuvers he makes, however, the through-line is always Teresa and Montoya: particularly, their love for each other and for an institution that should have, in an ideal world, supported them and the people they vowed to protect.

To its credit, instead of merely humanizing the controversial police force, A Cop Movie adds some much-needed nuance to the big picture. At the end of the day, they’re no different than any other underpaid laborers working desperately to make end meets. A Cop Movie doesn’t gloss over the fact that the police, like so many other workers, are stuck in a rotten system that’s long overdue for a major overhauling.

A classic text of English literature classes is handsomely brought to life in this screen translation of the still-radical play An Inspector Calls. The Birlings, a wealthy industrialist family thriving in 1912 England, have a cozy family celebration shattered by the arrival of a police inspector investigating the suicide of a young working-class woman. But that’s not the only bubble that’s burst: as Inspector Goole (David Thewlis) interviews the family — gradually revealing the part each played in forcing the woman to such a desperate state — he holds a mirror up to the casual cruelty and entitlement with which the Birlings move through the world. Part of what makes JB Priestley’s original play so enduring is how these characters are used as a wider metaphor for their social classes, and that translates with delicate but undeniable force here. A damning indictment of individualism and blind privilege on original publication in 1945, this is a story that retains the same relevance and power today.

British director Adrian Lyne (9 1/2 Weeks) is famous for his uncompromising treatment of seedy eroticism and charged stories. Fatal Attraction is a staple of the erotic thriller genre and with good reason, it’s steamy and very 1980s in the best possible way. Like a good vintage, it has the whiff of old times, but with the pleasure of a spectacle that belongs to the past. That’s the lens through which you can view the story of a deranged mistress who won’t stop at anything to ruin your life and marriage, and still savour some sanity in the 21st century. Seen from a slightly removed perspective, the film becomes a stylized variation on conservative AIDS panic and a provocation to conservative heteronormativity. It has to be said that not all of the film has aged well, especially the gender politics at play. But if you can soothe yourself with a revisionist reading, it pairs well with Paul Verhoeven’s Basic Instinct: the things Michael Douglas’s characters do for (extramarital) thrills…

Filmmaker Petra Costa tells the story of moving to New York from Brazil to follow her dream, the same one her mother once followed, of becoming an actress.

She carries memories of a third person who made the same move, a sister called Elena. Elena left her when she was seven-years-old, and after intermittent calls and messages, disappeared.

This documentary is a tale of three women: of their feelings separation, longing, and ambition. It’s made to be a visual poem of their story.

Jaane Jaan is one of those thrillers where you hope that the main characters would get away with murder. Based on the 2005 Japanese novel, the Hindi adaptation still has the cat-and-mouse dynamic between the relentless detective and math genius protecting the suspect, along with their elaborate chess-like mind games. However, the film changes a major plot point from the novel, and without spoiling too much, it turns the math teacher, now named Naren, into a less sympathetic character. Given today’s sensibilities, it’s easy to understand why the change was made. After all, just because someone’s a genius, it doesn’t mean that they’re someone to be admired. Jaane Jaan still keeps up the exciting thrills and suspense of the original novel, but in making its changes, it becomes unclear who the film is rooting for.

A heart-wrenching tribute to victims of natural disasters that is one of despair, suffering, and hope. And it wouldn’t be so damning if it weren’t based off a true story surrounding the tragedy that killed more than 230,000 people. Boxing Day 2004 was one of the most memorable dates for wedded couple, Henry (Ewan McGregor) and Maria (Naomi Watts, for an Oscar nominated performance). Just two days prior, they arrived at Orchid Beach Resort in Thailand to celebrate the Christmas holidays together with their three children. After a squabble with the crew regarding their room reservations, they are granted the privilege of staying in a peaceful villa and all seems to be well. Nature had other plans in mind, though, and facing it head-on is the bittersweet reality.

The Platform is the closest thing to Parasite released so far. This interesting Spanish movie is about 90% a science-fiction drama and 10% a horror movie. It’s an allegory set in a future where prisoners live in vertical cells, and each cell has to wait for the cell above it to eat to get food. Depending on the floor where prisoners wake up, they might not get any food at all. This creates for disturbing situations that are hard to see as not representative of our modern societies.