40 Best Thriller Movies on Netflix UK

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.

Robert Pattinson and Willem Dafoe are the only two actors starring in this eccentric movie, and they deliver such grand performances that it feels like another actor would have been one too many.

They star as lighthouse keepers in the 19th century, left on an island to interact only with each other and their rock. It’s a fascinating premise of how these men, left on their own, deal with boredom, loneliness, and being annoyed with one another.

Incredible performances, an interesting aspect ratio, and perhaps excessive weirdness, make this movie unforgettable.

This Oscar-nominated French movie is set in Montfermeil, the Paris suburb where Victor Hugo wrote Les Misérables but which today is a rough neighborhood.

Inspired by instances of police violence that happened in 2008, the movie follows a squad of police officers who try to keep the neighborhood under control. Their methods, or lack thereof, inevitably cause things to explode. This is a thriller with a message, one which sometimes feels forced; but the payoff at the end will make you forget all of that.

After years of documentaries covering Thailand’s controversial issues, some of which have been temporarily banned by the Ministry of Culture, Nontawat Numbenchapol takes a step into feature film in Doi Boy. The plot covers plenty of the topics he’s previously depicted– immigration, prostitution, and corruption– but it unfolds naturally into a slow-paced, but moving drama where an undocumented sex worker tries to find home. Awat Ratanapintha as Sorn excellently leads this journey, but Arak Amornsupasiri as reluctant cop Ji, and Bhumibhat Thavornsiri as passionate activist Wuth also make their mark. While the film doesn’t delve into the intricate intersectionality, it feels like that’s part of the point. The notion of a nation doesn’t care about people’s dreams, even if that dream is for the nation to be better.

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 sappy expository start like that only makes you suspicious how quickly all hell breaks loose, and boy does that distrust get rewarded. Grave Torture firmly blends religion and the supernatural, with the overarching theme being an exploration of the guilt-inducing belief that questioning faith is tantamount to having no faith, and having no faith leads to punishment. Getting from point A to point B is not the one of the film’s strengths, sometimes feeling like it’s just floating disjointedly. Even then, it nails every violent landing with visceral, satisfying impact. Religion isn’t just some distant theme, it’s our final monster.