Thriller film, also known as suspense film or suspense thriller, is a film genre that falls under the general thriller genre. The thriller film's key characteristics are excitement and suspense. The suspense element, found in most films' plots, is particularly exploited by the filmmaker in this genre. Tension is created by delaying what the audience sees as inevitable.
A strict definition of the thriller film is that the film's overarching goal is to build tension in audiences as the film approaches its climax. Tension is built through situations that are menacing or where escape seems impossible. Life is typically threatened in thriller film, such as when the protagonist does not realize entering a dangerous situation. Thriller films' characters conflict with each other or with an outside force, which can sometimes be abstract.
Thriller films are typically hybridized with other genres; there exist adventure thrillers, science fiction thrillers, Western thrillers, and film noir thrillers. Thriller films also share a close relationship with horror films, both eliciting tension. In plots about crime, thriller films focus less on the criminal or the detective and more on generating suspense. Common themes include "terrorism, political conspiracy, pursuit, or romantic triangles leading to murder".
Alfred Hitchcock's first thriller was his third silent film, The Lodger (1926), a suspenseful Jack the Ripper story. His next thriller was Blackmail (1929), his and Britain's first sound film. His notable thrillers in the 1930s include The Man Who Knew Too Much and The 39 Steps.
One of the earliest spy films was Fritz Lang's Spies (1928), the director's first independent production, with an anarchist international conspirator and criminal spy character named Haghi (Rudolf Klein-Rogge), who is pursued by good-guy Agent No. 326 (Willy Fritsch)—this film would be an inspiration for the future James Bond films. The German film M (1931), directed by Fritz Lang, starred Peter Lorre (in his first film role) as a criminal deviant who preys on children.
Hitchcock continued his suspense-thrillers, directing Foreign Correspondent (1940), the Oscar-winning Rebecca (1940), Suspicion (1941), Saboteur (1942) and Shadow of a Doubt (1943), which was Hitchcock's own personal favorite. Notable non-Hitchcock films of the 1940s include The Spiral Staircase (1946) and Sorry, Wrong Number (1948).
In the 1950s, Hitchcock added technicolor to his thrillers, now with exotic locales. He reached the zenith of his career with a succession of classic films such as, Strangers on a Train (1951), Dial M For Murder (1954) with Ray Milland, Rear Window (1954) and Vertigo (1958). Non-Hitchcock thrillers of the 1950s include The Night of the Hunter (1955)—Charles Laughton's only film as director—and Orson Welles's crime thriller Touch of Evil (1958).
Director Michael Powell's Peeping Tom (1960) featured Carl Boehm as a psychopathic cameraman. After Hitchcock's classic films of the 1950s, he produced Psycho (1960) about a lonely, mother-fixated motel owner and taxidermist. J. Lee Thompson's Cape Fear (1962), with Robert Mitchum, had a menacing ex-con seeking revenge. A famous thriller at the time of its release was Wait Until Dark (1967) by director Terence Young, with Audrey Hepburn as a victimized blind woman in her Manhattan apartment.
The 1970s saw an increase of violence in the thriller genre, beginning with Canadian director Ted Kotcheff's Wake in Fright (1971), which almost completely overlapped with the horror genre, and Frenzy (1972), Hitchcock's first British film in almost two decades, which was given an R rating for its vicious and explicit strangulation scene. One of the first films about a fan's being disturbingly obsessed with their idol was Clint Eastwood's directorial debut, Play Misty for Me (1971), about a California disc jockey pursued by a disturbed female listener (Jessica Walter). John Boorman's Deliverance (1972) followed the perilous fate of four Southern businessmen during a weekend's trip. In Francis Ford Coppola's The Conversation (1974), a bugging-device expert (Gene Hackman) systematically uncovered a covert murder while he himself was being spied upon.
Alan Pakula's The Parallax View (1974) told of a conspiracy, led by the Parallax Corporation, surrounding the assassination of a presidential-candidate US Senator that was witnessed by investigative reporter Joseph Frady (Warren Beatty). Peter Hyam's science fiction thriller Capricorn One (1978) proposed a government conspiracy to fake the first mission to Mars.
Brian De Palma usually had themes of guilt, voyeurism, paranoia, and obsession in his films, as well as such plot elements as killing off a main character early on, switching points of view, and dream-like sequences. His notable films include Sisters (1973); Obsession (1976), which was slightly inspired by Vertigo; Dressed to Kill (1980); and the assassination thriller Blow Out (1981).
In the early 90s, thrillers had recurring elements of obsession and trapped protagonists who must find a way to escape the clutches of the villain—these devices influenced a number of thrillers in the following years. Rob Reiner's Misery (1990), based on a book by Stephen King, featured Kathy Bates as an unbalanced fan who terrorizes an incapacitated author (James Caan) who is in her care—Bates won the 1990 Academy Award for Best Actress for her role. Other films include Curtis Hanson's The Hand That Rocks the Cradle (1992) and Unlawful Entry (1992), starring Ray Liotta.
Detectives/FBI agents hunting down a serial killer was another popular motif in the 90s. A famous example is Jonathan Demme's Best Picture–winning crime thriller The Silence of the Lambs (1991)—in which a young FBI agent (Jodie Foster) engages in a psychological conflict with a cannibalistic psychiatrist named Hannibal Lecter (Anthony Hopkins) while tracking down transgender serial killer Buffalo Bill—and David Fincher's crime thriller Seven (1995), about the search for a serial killer who re-enacts the seven deadly sins.
Another notable example is Martin Scorsese's neo-noir psychological thriller Shutter Island (2010), in which a U.S. Marshal must investigate a psychiatric facility after one of the patients inexplicably disappear.
In recent years, thrillers have often overlapped with the horror genre, having more gore/sadistic violence, brutality, terror and frightening scenes. The recent films in which this has occurred include Eden Lake (2008), The Last House on the Left (2009), P2 (2007), Captivity (2007), and Vacancy (2007). Action scenes have also gotten more elaborate in the thriller genre. Films such as Unknown (2011), Hostage (2005), and Cellular (2004) have crossed over into the action genre.
The thriller film genre includes the following sub-genres:
- Action thriller: A subgenre of both action film and thriller in which the protagonist confronts dangerous adversaries, obstacles, or situations which he/she must conquer, normally in an action setting. Action thrillers usually feature a race against the clock, frequent violence, and a clear antagonist. Examples include Dirty Harry, Taken, The Fugitive, Snakes on a Plane, Speed, The Dark Knight, Casino Royale, The Hurt Locker, The Terminator, Battle Royale, the Die Hard series, and the Bourne series.
- Comedy thriller: A genre that combines elements of humor with suspense or action. Such films include Silver Streak, Dr. Strangelove, Charade, Kiss Kiss Bang Bang, In Bruges, Mr. and Mrs. Smith, Grosse Point Blank, The Thin Man, The Big Fix, and The Lady Vanishes.
- Conspiracy thriller: A genre in which the hero/heroine confronts a large, powerful group of enemies whose true extent only s/he recognizes. The Chancellor Manuscript and The Aquitaine Progression by Robert Ludlum fall into this category, as do films such as Awake, Snake Eyes, The Da Vinci Code, Edge of Darkness, Absolute Power, Marathon Man, In the Line of Fire, Capricorn One, and JFK.
- Crime thriller: This genre is a hybrid type of both crime films and thrillers, which offers a suspenseful account of a successful or failed crime or crimes. Such films often focus on the criminal(s) rather than a policeman. Central topics include serial killers/murders, robberies, chases, shootouts, heists, and double-crosses. Some examples of crime thrillers involving murderers are Seven, No Country for Old Men, Heat, New Jack City, Silence of the Lambs, Untraceable, Mindhunters, Kiss the Girls, Along Came a Spider, Collateral, and Copycat. Examples of crime thrillers involving heists or robberies are The Asphalt Jungle, The Score, Rififi, Entrapment, Heat, and The Killing.
- Erotic thriller: A type of thriller that has an emphasis on eroticism and where a sexual relationship plays an important role in the plot. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Sea of Love, Basic Instinct, Chloe, Color of Night, Dressed to Kill, Eyes Wide Shut, In the Cut, Lust, Caution, and Single White Female.
- Horror thriller: A type of film that blends the horror and thriller genres, focusing on suspense, tension, and adrenaline while having an emphasis on fear, terror, and/or gore. Many horror films tend to cross over into the thriller genre because of their suspenseful and tense nature. Personages of supernatural origin may be present in such films. Examples of horror thrillers are Saw, The Strangers, Hostel, Eden Lake, Psycho, Jaws, Halloween, The Shining, Scream, Final Destination, The Exorcist, Devil, The Uninvited, and The Orphanage.
- Legal thriller: A suspense film in which the major characters are lawyers and their employees. The system of justice itself is always a major part of these works, at times almost functioning as one of the characters. Examples include The Pelican Brief, Presumed Innocent, The Jury, The Client, The Lincoln Lawyer, Hostile Witness, and Silent Witness.
- Political thriller: A type of film in which the hero/heroine must ensure the stability of the government. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this subgenre. Other examples include Topaz, Notorious, The Man Who Knew Too Much, The Interpreter, Proof of Life, State of Play, and The Ghost Writer.
- Psychological thriller: In this type of film (until the often violent resolution), the conflict between the main characters is mental and emotional rather than physical. Characters, either by accident or their own curiousness, are dragged into a dangerous conflict or situation that they are not prepared to resolve. To overcome their brutish enemies characters are reliant not on physical strength but on their mental resources. This subgenre usually has elements of drama, as there is an in-depth development of realistic characters who must deal with emotional struggles. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train, as well as David Lynch's bizarre and influential Blue Velvet, are notable examples of the type, as are The Talented Mr. Ripley, The Machinist, Flightplan, Shutter Island, Secret Window, Identity, Gone Girl, Red Eye, Phone Booth, Fatal Attraction, The River Wild, Panic Room, Misery, Cape Fear, and Funny Games.
- Spy film: A film in which the protagonist is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. The subgenre often deals with the subject of espionage in a realistic way (as in the adaptations of John Le Carré's novels). It is a significant aspect of British cinema, with leading British directors such as Alfred Hitchcock and Carol Reed making notable contributions, and many films set in the British Secret Service. Thrillers within this subgenre include Spy Game, Hanna, Traitor, Tinker Tailor Soldier Spy, The Tourist, The Parallax View, The Tailor of Panama, Mission Impossible, Unknown, The Recruit, the James Bond franchise, The Debt, The Good Shepherd, and Three Days of the Condor.
- Supernatural thriller: Films that include an otherworldly element (such as fantasy and/or the supernatural) mixed with tension, suspense, and/or plot twists. Sometimes the protagonist and/or villain has some psychic ability and superpowers. Examples include Fallen, Frequency, In Dreams, Flatliners, Jacob's Ladder, The Skeleton Key, What Lies Beneath, Unbreakable, The Sixth Sense, The Gift, The Dead Zone, and Horns.
- Techno-thriller: A suspenseful film in which the manipulation of sophisticated technology plays a prominent part. Examples include The Thirteenth Floor, I, Robot, Source Code, Eagle Eye, Supernova, Hackers, The Net, Futureworld, eXistenZ, and Virtuosity.
- Konigsberg 1997, p. 421
- Konigsberg 1997, p. 404
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- The Fugitive (1993) AllMovie
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- According to Filmsite.org – http://www.filmsite.org/thrillerfilms.html – "Another closely-related genre (to thriller) is the horror film genre, also designed to elicit tension and suspense, taking the viewer through agony and fear."
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- "Funny Games – Cast, Reviews, Summary, and Awards – AllRovi". Allmovie.com. March 14, 2008. Retrieved November 13, 2011.
- "The Spying Game: British Cinema and the Secret State", 2009 Cambridge Film Festival, pp.54-57 of the festival brochure.
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- "In Dreams – Cast, Reviews, Summary, and Awards – AllRovi". Allmovie.com. January 15, 1999. Retrieved November 13, 2011.
- "The Skeleton Key – Cast, Reviews, Summary, and Awards – AllRovi". Allmovie.com. August 12, 2005. Retrieved November 13, 2011.
- Shoard, Catherine (26 July 2010). "Spoiler alert: The Sixth Sense voted film with best twist". The Guardian. Retrieved 10 September 2016.
- Billy Bob Thornton. "The Gift – Cast, Reviews, Summary, and Awards – AllRovi". Allmovie.com. Retrieved November 13, 2011.
- "Daniel Radcliffe to Grow ‘Horns’ for Supernatural Thriller". Screen Rant. March 9, 2014. Retrieved October 11, 2014.
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- Hanich, Julian (2010). Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear. Routledge Advances in Film Studies. Routledge. ISBN 978-0-415-87139-6.
- Hicks, Neil D. (2002). Writing the Thriller Film: The Terror Within. Michael Wiese Productions. ISBN 978-0-941188-46-3.
- Indick, William (2006). Psycho Thrillers: Cinematic Explorations of the Mysteries of the Mind. McFarland & Company. ISBN 978-0-7864-2371-2.
- Mesce, Bill (2007). Overkill: The Rise And Fall of Thriller Cinema. McFarland & Company. ISBN 978-0-7864-2751-2.
- Rubin, Martin (1999). Thrillers. Genres in American Cinema. Cambridge University Press. ISBN 978-0-521-58839-3.