Double Indemnity
Directed by Billy Wilder
1944
Film noir gets its blueprint here: Wilder and Chandler wrote dialogue nobody has matched for hardness, and set the pattern of the doomed man telling his own story.
★ 9.0
The Movies canon
Sourced and screened.
Every film chosen by hand and annotated for why it matters.
Browse all 731 films or filter by genre, director, place, and year.
Browse all 731 films or filter by genre, director, place, and year.
The Silence of the Lambs
Directed by Jonathan Demme
1991
Hopkins is on screen for a fraction of the film and won an Oscar anyway: Demme shot the interviews straight down the lens so Lecter looks directly at you.
★ 8.9
No Country for Old Men
Directed by Coen Brothers
2007
The Coens made a chase film with almost no music in it at all: Javier Bardem's killer with a cattle gun became the most frightening figure of the decade.
★ 8.9
The Night of the Hunter
Directed by Charles Laughton
1955
Charles Laughton never directed again after it failed, and critics have spent seventy years calling it a masterpiece: a preacher with tattooed knuckles and two children on a river.
★ 8.4
Memories of Murder
Directed by Bong Joon-ho
2003 · South Korea
Bong made a serial killer film in which the police are the problem: it is based on a real case, and rural Korea itself ends up looking like the suspect.
★ 8.1
Heat
Directed by Michael Mann
1995
Police forces train on the shootout and every heist film since has copied it: Mann also got De Niro and Pacino into one diner booth for the first time.
★ 8.1
Le Samourai
Directed by Jean-Pierre Melville
1967
Every filmmaker who has ever shot a hitman putting on a hat is quoting this: Melville stripped the crime film down to ritual, silence and a trench coat.
★ 8.1
Seven
Directed by David Fincher
1995
The studio wanted the ending changed and Fincher refused, and studios then spent a decade trying to reproduce the atmosphere: a procedural so bleak the rain never stops.
★ 8.1
Memento
Directed by Christopher Nolan
2000
Nolan told it backwards and the trick is not a trick: the reverse order strands you exactly where its amnesiac protagonist lives, knowing only the last five minutes.
★ 8.0
Blue Velvet
Directed by David Lynch
1986
Lynch invented his own genre here and the word Lynchian dates from it: a severed ear in a field leads into the underside of an ordinary American town.
★ 8.0
Oldboy
Directed by Park Chan-wook
2003 · South Korea
Korean cinema broke through in the West on the strength of this: fifteen years locked in a room without explanation, and a corridor fight staged in one take.
★ 7.8
Touch of Evil
Directed by Orson Welles
1958
The opening crane shot is the most studied three minutes in film school: Welles was fired off his own picture, and the version we watch was restored from his memo.
★ 7.6
The French Connection
Directed by William Friedkin
1971
It made the car chase in Bullitt look choreographed: this one was shot without permits, at ninety miles an hour, through real Brooklyn traffic that nobody had cleared.
★ 7.6
Reservoir Dogs
Directed by Quentin Tarantino
1992
Tarantino arrived fully formed with a heist film that never shows the heist: everyone is in a warehouse afterward, suspecting everyone else and talking far too much.
★ 7.3
The Usual Suspects
Directed by Bryan Singer
1995
Almost nobody guesses where it is going the first time: five criminals meet in a police lineup, and the whole story reaches you secondhand from an interrogation room.
★ 7.3
Strangers on a Train
Directed by Alfred Hitchcock
1951
The premise is so clean that thrillers have been borrowing it for seventy years: two men meet on a train and one of them proposes swapping murders.
★ 7.2
Traffic
Directed by Steven Soderbergh
2000
Soderbergh color-codes three separate drug-war stories so you always know which one you are in, then declines to let any of them resolve into a tidy lesson.
★ 6.9
Drive
Directed by Nicolas Winding Refn
2011
It looks and sounds like nothing else from its decade: neon Los Angeles, a synth score, a driver who barely speaks, and sudden violence that arrives without warning.
★ 6.8
Mystic River
Directed by Clint Eastwood
2003
Eastwood's bleakest film: three boys from one Boston block grow into three men, and a murder pulls them back to the afternoon that separated them, with no interest in comforting anyone.
★ 6.6
Blow Out
Directed by Brian De Palma
1981
Travolta's best performance is in a thriller that flopped and spent forty years being rediscovered: a movie sound man records an accident and hears something that should not be on the tape.
★ 6.6
Rififi
Directed by Jules Dassin
1955 · France
Dassin was blacklisted out of Hollywood and made this in France for almost nothing: the half-hour robbery at its center plays in near-total silence, and the genre has been imitating it since.
★ 6.5
Dirty Harry
Directed by Don Siegel
1971
Pauline Kael called it fascist and the argument has never really ended: Eastwood's inspector chases a Zodiac-like killer through San Francisco with a .44 Magnum and open contempt for procedure.
★ 6.4
The Talented Mr. Ripley
Directed by Anthony Minghella
1999
Nothing else captures the pull of wanting somebody else's life this well: Minghella fills the Italian coast with sunlight and good clothes, and lets a young man's envy curdle in plain sight.
★ 6.3
The Killing
Directed by Stanley Kubrick
1956
Kubrick was twenty-seven and this is where he became Kubrick: a racetrack robbery told out of order, doubling back to catch each man's hour, thirty years before that felt like a style.
★ 6.2
True Romance
Directed by Tony Scott
1993
Tarantino sold this script to pay for Reservoir Dogs and Tony Scott shot it with real affection: a comic book clerk and a call girl leave Detroit with the wrong suitcase.
★ 5.7
The Secret in Their Eyes
Directed by Juan Jose Campanella
2009 · Argentina
The camera drops out of the sky into a packed football stadium and does not cut for five minutes: an Argentine investigator reopens a case he could never leave alone.
★ 5.7
Thief
Directed by Michael Mann
1981
Michael Mann's first theatrical feature, with Tangerine Dream on the score and real ex-burglars advising: a safecracker who has planned his whole future on a diner napkin tries to buy his way out.
★ 5.5
Lock, Stock, and Two Smoking Barrels
Directed by Guy Ritchie
1998 · United Kingdom
Guy Ritchie raised the money out of favors and cast a professional footballer who had never acted: four London friends owe half a million pounds by Friday, and five plots collide getting it.
★ 5.2
Snatch
Directed by Guy Ritchie
2000 · United Kingdom
Brad Pitt asked for a part and got one nobody can understand a word of: an unlicensed boxing promoter, a stolen diamond and several sets of London criminals converge at considerable speed.
★ 5.2
Sin City
Directed by Robert Rodriguez and Frank Miller
2005
Rodriguez shot the whole thing on green screen and used Frank Miller's comic panels as storyboards: monochrome with single splashes of color, and Miller got a co-director credit for it.
★ 5.1
The Taking of Pelham One Two Three
Directed by Joseph Sargent
1974
Tarantino took the color-coded aliases straight from this for Reservoir Dogs: four men hijack a subway car under Manhattan and Walter Matthau negotiates with them by radio, entirely deadpan.
★ 5.0
Get Carter
Directed by Mike Hodges
1971 · United Kingdom
Michael Caine plays a gangster with no charm whatsoever and it is his best performance: Newcastle in 1971 shot as a real place, and every British crime film since has borrowed the tone.
★ 4.8
Inside Man
Directed by Spike Lee
2006
Spike Lee's biggest commercial hit is also his slyest: a rehearsed crew takes hostages inside a Wall Street bank, Denzel Washington negotiates, and Jodie Foster turns up representing somebody nobody can place.
★ 4.7
Basic Instinct
Directed by Paul Verhoeven
1992
Paul Verhoeven made the decade's most notorious mainstream thriller and never once blinked: an interrogation scene everyone still knows, and a novelist who may be writing what happens next.
★ 3.9