Some classical thriller movies share with you

If done well, thrillers can elicit more physical reactions than any other type of bar horror film. However, how it triggers these reactions varies greatly.

Mulholland Drive

David Lynch's unbreakable masterpiece meets at the intersection of Hollywood dream and dream logic. In Lynch's crazy quilt Town, anything can lurk around the corner, whether it's the dirty city ghoul, the mysterious Puppet Master in the cowboy hat, the split reality, the hapless gangster or Billy Ray Cyrus in the green hat. The legacy of muhilandao will always be its clarity, but in all the conversations about what it really means, people tend to forget the fact that it is exciting from beginning to end: it is a puzzle box without answers and can still be used as a master black, fascinating mystery and ethereal horror story.It is a classical thriller movie.

Taxi Driver

One of the most iconic films of the 1970s is also one of the most exciting films: Travis Bickle, played by Robert De Niro, is a Vietnam War veteran who later became a taxi driver, fighting the devil inside. It is one of the typical depictions of male temperament fracture. Scorsese brilliantly displayed a troubled mind in a way that made the audience hold their breath.

The Manchurian Candidate

Fear of Soviet rule may have swept the United States in the early 1950s, but in Hollywood, things are not so simple. After the Joseph McCarthy hearing, filmmakers knew that they feared their own government as much as some dark foreign forces. "Manchurian Candidate" is the clearest expression of this anxiety. The sharp study of manipulation is shot in bright monochrome, which is a paradox for a thriller movie without black and white.

LA Confidential

For contemporary audiences, the main anxieties of the classic 1950s noir films often reappear. But Curtis Hanson's genre pays tribute to daring to be more grand, goes back to the source and recreates the bloody era itself, perfectly shooting the knee deep Tinseltown corruption legend. It's a deceptive maze of self serving police officers, movie star worshippers and an invaluable Lana Turner cameo. Hansen is proud of the thriller movie in front of him.

Les Diaboliques

A creepy boarding school, a terrible headmaster, his wife who is quietly fed up with it, another disgruntled lover - thrillers are rarely richer than suspense. Alfred Hitchcock Henry George cruzzo, a native of France, subversively combined his timid spouse (the director's wife Vera cruzzo played a simple Jane with braids) and his hedonistic Mistress (Simone sinoret, a provocative appearance) to carry out a revenge murder plan against their common enemy. Cruzo used every device he could: Weird corridors, dirty swimming pools, refreshing children. The result was a truly scary thriller movie that affected psycho. Cruzo's demonic nail biting climaxes with such a domino like reversal. It even has a title card at the end, asking the audience not to destroy the film for others. Don't expect to know who is cheating on whom before the last frame.

Zodiac

David finch's thriller crime thriller movie breaks the limits of what is known, taking the truth itself as the ultimate victim of the serial killer. The zodiac is the authoritative film in its troubled decade, which shows us that good people are frustrated by the elusive spirit of murderous ghosts. The real experience of the killers of the Chinese zodiac in California has always troubled finch as a child. His films are an expression of obsession, both on and off screen.

Kiss Me Deadly

The most disturbing nightmare of noir films ends with a burning nuclear disaster - if this anxiety is not enough, there are also off screen torture, ferocious waiters slapping and the random destruction of beloved opera records. Robert Aldridge's perverse masterpiece brings Mickey spearand's vicious Mike Hammer (a grinning Ralph Mick) to life: a futile bottom feeder that's easy to use fists. He is the most vicious anti hero. Los Angeles made him like this.

Vertigo

Vertigo is often regarded as the greatest achievement of the film. It presents the pinnacle of Hitchcock's persistence in sexual psychology with a dazzling Technicolor. Playing Judy Barton - or Madeleine Elster Kim Novak embodies the tortuous femininity. Jimmy Stewart's "Scotty" Ferguson, a former detective who is increasingly fascinated by her, perfectly subverts the actor's healthy image.