Best Thriller Movies on Netflix 2022 – Since Alfred Hitchcock’s silent serial murderer picture The Lodger in 1927, which kept viewers guessing, the thriller has been a cinema fixture. The plot may be made up, but the tension we feel is real if the telling is done well. The thriller is a broad and difficult-to-define genre that includes everything from supernatural tales to spy chases to psychological dramas—
you’ll notice some overlap with our Best Dramas on Netflix, Best Action Movies on Netflix, Best Sci-Fi Movies on Netflix, and Best Horror Movies on Netflix lists—but the key element of a good thriller is keeping an audience member on the edge of their seat. Here we have shared the list of Best Thriller Movies on Netflix 2022.
So, save for a few spectacularly mislabeled films, we’ve officially defined a thriller as anything that Netflix considers a thriller, and any objections or concerns should be sent to one of Netflix’s obnoxious first-person Twitter accounts.
Here is the list of Best Thriller Movies on Netflix 2022
Director: Tony Gilroy
Stars: George Clooney, Tom Wilkenson, Tilda Swinton, Sydney Pollack, Michael O’Keefe, Merritt Wever
Runtime: 119 minutes
The constant barrage of high-profile business crises in the twenty-first century only adds to the difficulty of accepting Tony Gilroy’s primary thesis: that even the most heartless corporate tycoons and their big-shot attorneys have moral dilemmas. In a flash, Gilroy introduces his three characters, each of whom is a pawn in a $3 billion class-action lawsuit against fictitious agrochemical behemoth U/North: Tom Wilkinson’s character, attorney Arthur Edens, is reduced to a manic-depressive wreck.
Karen Crowder (Tilda Swinton), U/lead North’s lawyer, hides her anxiousness behind a perfectly crafted look and well-rehearsed press comments. Then there’s Michael Clayton, who is played by George Clooney with a world-weary determination and is forced to confront a series of moral issues in which his business instinct for self-preservation clashes with his sense of justice.
Gilroy strikes a delicate balance between depicting the lives of these three lonely individuals and keeping his meticulously designed story moving. Gilroy delivers a script that reflects his rare ability to pose complex moral questions while simultaneously drawing his audience deeper and deeper into the action, blending elements of crime drama, paralegal thriller, and a dash of the espionage action he perfected while working on the Bourne trilogy.
Michael Clayton effectively captures the befuddlement of those who find themselves imprisoned within the corporate mentality, shot against the frigid, hive-like palaces of Manhattan’s Corporate Row. It’s frightening to believe that the mega-corporations that dominate America’s economy are cruel robots, but it’s even scarier to believe that they may be human after all. Also it is one of the Best Thriller Movies on Netflix 2022.
Director: Ben Affleck
Stars: Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Scoot McNairy
Runtime: 120 minutes
Ben Afflewck directed the film. Argo is in the list of Best Thriller Movies on Netflix 2022 and a masterful combination of classic story genres, a beautifully sculpted picture built on a simple, step-by-step structure. Despite the hundreds of ways Argo should have failed, it looks like a modest project, plays like a huge Hollywood film, and succeeds. So, how do you make a suspenseful, popcorn drama out of a real-life seizure of a US embassy?
Affleck demonstrates that he is capable of doing so without surrendering, or worse, disregarding, the sensitivity of the subject. This is significant in light of the unexpected synchronicity with today’s current political events and tensions, as well as the impact on an audience. The story starts in Tehran in 1979, when a militant group successfully (and infamously) raids the US embassy.
Taking hostages and demanding that the deposed Shah be returned to his homeland by the American administration. Chris Terrio’s well crafted opening expresses no sentiments and takes no sides. It even attempts to convey an understanding of why Iranian individuals felt so strongly about the Shah.
Following the fast setup, we get a film that is motivated by two popular themes: The Everyman as hero worked well in a CIA thriller. Tony Mendez (Affleck), a discreet operator who specializes in rescuing Americans from hazardous political situations, is the average man, and he’s got a doozy on his hands. A half-dozen Americans escaped to the Canadian ambassador’s house during the embassy seizure, fearing they would be discovered and murdered.
Mendez goes to the movies to get them out of Iran, fabricating the pre-production of a bogus Hollywood film to convince the Iranians that the six individuals fleeing their nation are actually part of a Canadian team investigating Middle Eastern locales for a sci-fi thriller dubbed Argo. Terrio’s writing and Affleck’s sense of timing combine to create an efficient, stripped-down, and polished effort.
Director: Dan Gilroy
Stars: Jake Gyllenhaal, Rene Russo, Riz Ahmed, Bill Paxton
Runtime: 117 minutes
“A screaming lady with her neck slashed fleeing down the street.” In filmmaker Dan Gilroy’s fantastic thriller Nightcrawler, Nina (Rene Russo) uses this picture to describe her news broadcast. It’s easy to use that as a metaphor for the entire film—debut, Gilroy’s which makes his accomplishment all the more impressive—but, although that is certainly a factor, what propels this picture forward is the threat that lies under the surface, embodied by Jake Gyllenhaal’s Louis Bloom. Lou is a determined self-starter who scavenges for everything he can steal and sell at night.
He’s seeking for a profession to break into on the ground floor, full of significant acronyms, contrived self-confidence, and drive fuelled by self-improvement seminars, catchy advice, and insight. He has the desire, opportunity, and, most significantly, the moral flexibility to flourish in the lucrative world of nightcrawlers, freelance stringers who rush after breaking news stories—the bloodier, the better is the conventional wisdom— Gyllenhaal, who lost over 30 pounds for the part, has seldom, if ever, looked better.
Lou is composed, forthright, goal-oriented, and even charming at times, but his placid demeanour conceals the underlying aggression that you spend the whole film waiting to see erupt. Nightcrawler is tight and intense, aggressive and obsessive, and brimming with energy and a sinister sense of humor. This is with among the Best Thriller Movies on Netflix 2022.
Director: Bong Joon-ho
Stars: Tilda Swinton, Paul Dano, An Seo Hyun, Byun Heebong, Steven Yeun, Lily Collins, Yoon Je Moon, Shirley Henderson, Daniel Henshall, Devon Bostick, Woo Shik Choi, Giancarlo Esposito, Jake Gyllenhaal
Runtime: 118 minutes
Okja takes more creative chances in the first five minutes than most films do over the course of their whole runtime, and it doesn’t stop there. The seemingly inconsistent tone, which ranges from pathos to suspense to joyful action to whimsy to horror to whatever Jake Gyllenhaal is doing, tends to be a sticking point for several critics and moviegoers, particularly Western audiences.
However, this is part of what makes Bong Joon-ho films, well, Bong Joon-ho films: They’re sophisticated and complicated, but not exactly restrained or delicate. They pay attention to the smallest details, although they aren’t very gentle in their treatment. They have a variety of goals in mind, and they combine those goals to form a jam.
They’re inventive compositions that build momentum through part-counterpart alternations, and Okja is possibly the best illustration yet of Bong’s rhythmic tonality’s wild pendulum swing. Okja isn’t a vegan film, but it does address how we may discover integrity and, more importantly, how we can act ethically toward other species, including humans. Okja’s answers are straightforward and important, and it does so without really saying them, allowing you to hear them for yourself since it has asked all the proper questions in an interesting manner.
Director: Babak Anvari
Stars: Narges Rashidi, Avin Manshadi, Bobby Naderi, Ray Haratian, Arash Marandi
Runtime: 84 minutes
Babak Anvari spends the majority of the film building a suffocating historical drama, a distinct kind of horror picture that physically communicates the claustrophobia of Iran during its volatile post-revolution time. Under the Shadow is a declaration of resistance and an homage to Anvari’s mother, who was born into a family that finally left the Ayatollah’s tyranny.
Shideh (Narges Rashidi) is presented as a brave heroine battling back against larger hostile forces in this picture, a horror movie trope that takes on even more significance in this environment. Shideh defying the Khomeini dictatorship by watching a state-banned Jane Fonda exercise DVD is nearly as moving as witnessing her conquer her inner issues by defending her kid from a more serious threat.
Director: Patrick Brice
Stars: Mark Duplass, Patrick Brice
Runtime: 77 minutes
On the internet, trust is a precious commodity. Though the Internet’s connecting power has made our globe smaller, trusting in something you can’t see is a dangerous proposition. Patrick Brice uses found video to create a dynamic examination of these concerns in Creep. The discovered footage idea wore out its welcome amid a torrent of Paranormal Activity copies over the last eight years, as far as genre niches go.
The approach works in Brice’s hands: unlike its low-fi counterparts, Creep is crafted with meticulous attention to detail and a careful analysis of purpose. The camera stays on from scene to scene for a reason. Brice’s lens nearly works as a barrier if the web encourages damage. While we’re rolling, nothing terrible can happen, at least until it does. Even the most casual horror fan understands where Creep’s story is going, but Brice has a way of having us second-guess ourselves at nearly every turn.
Aaron is played by Brice, while Josef is played by mumblecore expert supreme Mark Duplass. Aaron is in a financial bind and is searching for quick cash. Josef is a pulsing ball of captivating energy that has been bottled up. He’s also dying slowly as a result of an aggressive, incurable brain tumour. As a result, Josef has engaged Aaron as his personal cameraman. Josef want to document a single day in his life for his unborn child, whom he may never meet. So the two guys embark on a journey across the hills and dales, which sounds great except for Josef’s odd behavior.
In reality, it’s very odd, and not the type of quirky, precious weird that indie fans adore. And Brice knows how to keep people scared for a long time. He’s similarly adept at eliciting a giggle from us at at the perfect time to defy our expectations. Creep is as terrifying as it is funny, but Brice doesn’t rely on gimmicks to get the audience laughing. Rather, he uses them as bait and expectation as a red herring, masterfully executing his various deceptions. Even as the film nears its conclusion, we can’t help but want for a happy ending.
Director: Quentin Tarantino
Stars: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Kerry Washington, Samuel L. Jackson
Runtime: 165 minutes
The nicest thing about Quentin Tarantino is also the worst thing about him: he believes in whatever he’s doing entirely. Most of the time, what he’s producing consists of highly referential tribute mashups with dialogue that would cause carpal tunnel in most screenwriters.
For starters, the old video shop clerk is a master at conveying essential messages in genres that aren’t generally used to do so—Kung Fu movies, vengeance fantasies, and spaghetti Westerns, to name a few. He’s a Philistine-dressed artist splattering ludicrous carnage over the screen when what he’s actually blowing is our thoughts. Although Tarantino’s film isn’t his finest, it is his most ambitious, which says a lot for someone who is capable of so much.
Director: Jennifer Kent
Stars: Aisling Franciosi, Sam Claflin, Baykali Ganambarr
Calling The Nightingale a vengeance picture establishes a sense of success in the satisfaction of wrathful justice meted out to the unjust. Let it be known that Jennifer Kent’s follow-up to her 2014 debut The Babadook has no such catharsis. While revenge is a dish best served cold, it is usually delivered in one of two ways in movies: with fist-pumping ferocity or soul-corroding sobriety. For the latter, the Nightingale keeps to the recipe. This is not a nice nor a pleasant film, although it is well-made to compensate for its continuous pitilessness:
It’s meticulously crafted, as one would expect from a director of Kent’s calibre, and ferociously acted by Aisling Franciosi, Baykali Ganambarr, and Sam Claflin, who play Clare, an Irish convict driven by rage; Billy, an Aboriginal tracker driven by vengeance; and Hawkins, a British military officer driven by cold ambition and bottomless malice, who’s also Clare’s master and They’re three peas in a dreadful pod, 1820s Tasmania during the Black War, when English colonists killed Aboriginal Tasmanians to the point that they were nearly extinct. It’s a particularly bleak period in the country’s long history.
As a result, The Nightingale is a suitably gloomy film—but Kent is much too astute a director to claim that Clare’s suffering is worse than Billy’s, or to draw any comparisons between them. She comprehends what must occur in order for Clare’s and Billy’s roles in the plot to be fulfilled. It’s a remarkable achievement that she’s able to do both so smoothly. On apparent genre and stylistic grounds, The Nightingale is a long cry from The Babadook, however there are plenty of horrors here:
Clare dances with Aidan, then with Hawkins and her other assailants in a nightmare beat. However, the film builds on Kent’s interest in women’s experiences by narrating Billy’s story alongside Clare’s, demonstrating her ability to make well-worn genre components feel fresh once more. If The Nightingale rejects vengeance cinema’s usual pleasures, it also discovers new ones.
Director: Patty Jenkins
Stars: Charlize Theron, Christina Ricci, Bruce Dern, Lee Tergesen
Runtime: 104 minutes
In Patty Jenkins’ sad drama, Charlize Theron’s transition into legendary serial murderer Aileen Wuornos extends beyond her becoming unrecognisable in the character. (When Roger Ebert first saw Monster, he had no idea it was her in the part.) Anything we knew about Theron’s persona and behaviour as a movie star is utterly stripped away in order for her to inhabit this deeply disturbing, yet ultimately sad woman.
Theron has thoroughly immersed herself in her role. Wuornos appears in every gaze, every hand motion, and every muscular twitch. There isn’t a single scene in the movie where the actress appears from behind those closed eyelids. Charlize Theron nailed it with her portrayal of something necessary and wonderful (if very disturbing)
Director: Galder Gaztelu-Urrutia
Stars: Iván Massagué, Zorion Eguileor, Antonia San Juan, Emilio Buale Coka, Alexandra Masangkay
The Platform benefits greatly from the power of its clear, high-concept basis, as well as the removal of any unnecessary information from the spectator. It makes no difference that we have no idea why individuals are incarcerated in this diabolical, vertical prison complex, where the sole food is a constantly falling, more disgusting stone slab stacked high with perishables delivered once a day.
We don’t need to know how this ostensibly social experiment works, yet the frequent glances we receive of cooks sweating over exquisite dishes to be served to the condemned are undoubtedly supposed to pique our interest. What important is that we examine the diversity in human behaviour to this plight—the ways in which various personalities respond to hardship with a “us versus them” mindset, predatory hunger, or a spontaneous impulse toward self-sacrificing benevolence.
The fact that the inmates’ situation is continually changing is crucial because it provides them with both a practical incentive to be the change they wish to see in the world and an almost insurmountable temptation to do the exact opposite out of fear of their neighbors. You’ll find a nihilistic streak here, and you won’t be disappointed—but there are also a few glimmers of light gleaming through the gaps. Perhaps just enough to make the knife twist even more.
Director: Mike Flanagan
Stars: John Gallagher Jr., Michael Trucco, Kate Siegel
Runtime: 81 minutes
Mike Flanagan’s Oculus was a nice surprise for horror fans when it received broad distribution in 2013, so one would ask if he’s taking a step back by directing a pretty traditional home invasion thriller with restricted cast and locales in his upcoming Netflix-exclusive Hush. However, there are just enough surprises in this particularly trope-laden subgenre, beginning with our heroine’s deafness. That one handicap, along with her secluded location in the woods, makes repelling the disguised visitor who comes knocking a particularly terrifying challenge.
Hush, although unavoidably echoing The Strangers and Funny Games in particular, carves out its own place in the genre. For this type of situation, our protagonist is an extraordinarily educated, resourceful (yet realistic) protagonist, and her reactions to each new horror ring true. The stakes and tension develop in an organic, visceral way that doesn’t require any further gimmickry or a third act surprise. It’s just a fight for survival, with a heroine that is surprisingly well developed despite the fact that she never “says” anything.
Director: David Marmor
Stars: Nicole Brydon Bloom, Giles Matthey, Alan Blumenfeld, Celeste Sully
Runtime: 90 minutes
In the midst of a horrible housing crisis, 1BR shines a light on the loneliness and despair that plagues the wider Los Angeles population. Although Hollywood and its environs are known across the world as a haven for riches, the bulk of Los Angeles County residents live closer to the poverty line than the beach.
Approximately two dozen cults posing as subculture, a mortifying picture of co-dependency, a compelled abandonment of personal rights, and loneliness accompany these high levels of poverty. Sarah (Nicole Brydon Bloom), a newcomer to Los Angeles, is looking for a place to call home. She must also gain admission to college. Oh, and Sarah has to find out how to deal with her overbearing employer. She’s the model for every late bloomer in their twenties.
With limited cash, the apartment search has been a headache, but she eventually finds the right place. The location is convenient to work, inexpensive, and has one really adorable neighbor. Unfortunately, the land is owned by a cult dedicated to creating the ideal community. The organization, identified only as CDE Properties, is prone to extreme methods and keeps a constant eye on the small colony.
Sleep deprivation, solitary confinement, and threats of great agony are all part of their tried-and-true way of converting new renters. Sarah does her hardest to reject these approaches while also persuading her captors that she is assimilating into their ranks. In his feature film debut, writer/director David Marmor creates a harrowing survival thriller set in a sun-bleached desert and the harsh fluorescent illumination of drab workplaces.
1BR is the Best Thriller Movies on Netflix 2022 may become a new cult classic as a visceral representation of dread and yearning. 1BR shoots high with outstanding performances, a strong twist, and the prospect of a franchise sequel. The good news is that the film succeeds in hitting the majority of its goals.
13. Cop Car
Director: Jon Watts
Stars: Kevin Bacon, James Freedson-Jackson, Hays Wellford, Camryn Manheim, Shea Wigham
Runtime: 86 minutes
Cop Car begins with credits that shimmer like police lights, a lean, rough neo-noir that defies genre standards by focusing on two young boys. Cut to scenes from writer-director Jon Watts’ rural Colorado setting, which is characterised by deserted businesses, abandoned playgrounds, decaying trailer parks, and flat, dry plains. Travis (James Freedson-Jackson) and Harrison (Hays Wellford), both 10, wander through the wide, arid land:
From the first sight of the duo—orchestrated by Watts as one gorgeous, unbroken tracking shot that captures them dwarfed by the country’s big sky, even when they make their way through a barbed wire fence—to the first sight of the duo—orchestrated by Watts as one gorgeous, unbroken tracking shot that captures them dwarfed by the country’s big sky, even when they make their way through a barbed wire fence— Also this film is one of the Best Thriller Movies on Netflix 2022.
The youngsters are clearly on an odyssey of some type, although one with an unclear goal at first. Watts (who co-wrote the script with Christopher Ford) clearly wants Cop Car to be a depressing meditation on the futility of escape. When the two come across a tree-shrouded region, they are shocked to see a county sheriff’s cruiser. They come to the conclusion that the automobile has been abandoned. Travis and Harrison decide to take a pleasure ride after discovering the driver’s side door open and the keys inside. The two, who appear to have ran away from home, race around the cow-filled terrain like juvenile delinquents, seemingly unconcerned about the possibly terrible implications of their conduct.
Even before Watts rewinds his story to expose the car’s and owner’s history, such unfettered, devil-may-care recklessness provides the material an initial shock of hazard. Sheriff Kretzer (Kevin Bacon) parked the car in an out-of-the-way location so that he wouldn’t be spotted taking a body out of the trunk and onto a tarp, then carrying it to a hole to be brutally discarded. The identify of that body is as hazy as Kretzer’s motive for conducting this suspected murder.
To put it another way, when the sun sets on these characters, what’s left is a bleak portrait of the futility of attempting to change one’s circumstances, as well as the often-brutal punishment meted out by fate to those foolish enough to believe they can change who they are, where they came from, or where they’re going—even when the characters in question are just a couple of ne’er-do-well runaways looking for a good time.
Director: Quentin Tarantino
Stars: Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demien Bichir, Tim Roth, Michael Madsen, Bruce Dern
Runtime: 168 minutes
The Hateful Eight is a big film with an intimate heart and far too much stuff that has to be cut. The weight of the picture, as well as Quentin Tarantino’s ambition in making it his own, has a pomp and grandiosity about it that’s difficult not to love. The Hateful Eight, more than most blockbuster films and tentpoles that claim to be “epic,” truly lives up to the title. In this whodunit—or who’s-going-to-do—Tarantino is more interested in exchanging insults and threats than in taking action. Without a doubt, The Hateful Eight is outrageously violent, but it prioritizes angry conversation and reverie over actual violence. It is one of the Best Thriller Movies on Netflix 2022.
Tarantino may be heavy-handed with his topical metaphor, but The Hateful Eight also bears it out in subtle ways: With distrust as the film’s overarching theme, the idea that you can’t genuinely know the people you’re having dinner with takes on added seriousness and significance, especially in the film’s final battle, when everything is disclosed and we see the film’s many individuals for who they actually are. Although frontier justice satisfies our thirst, the film’s social justice concepts are even more satisfying. It all adds up to a massive work that is both deep and obscene.
Director: Vince Gilligan
Stars: Aaron Paul, Jesse Plemons, Charles Baker, Matt Jones, Jonathan Banks
Runtime: 122 minutes
Breaking Bad’s “Felina,” like many (but not all) TV programmes that can plan their series finales, was flawless. It was the end of Walter White (Bryan Cranston), as it should have been, but it gave us a glimpse of Jesse Pinkman’s (Aaron Paul) future as he sped out into the unknown. Since “Felina,” viewers have hoped for and anticipated a happy ending for Jesse, that he would make it to Alaska and create a life for himself. That is, in essence, what El Camino provides. It all starts as Jesse drives away from the complex. This film is one the Best Thriller Movies on Netflix 2022.
However, for the rest of the film’s length, it jumps back and forth in time as Jesse tries to persuade Ed the Extractor (the late Robert Forster) to help him find a way out of the turmoil that Walt has caused. The narrative is similar to an RPG quest line in that Jesse must complete a series of activities before moving on to the next stage. It’s also plenty of anxiety-inducing moments where Jesse appears surrounded and doomed, in typical Breaking Bad manner. He has an opportunity to start over, as he learned in a previous chat with Mike, even though he would never be able to set things right.
There has been far too much happening, and far too many people have perished. “I’ve spent my entire life going where the cosmos leads me. Jane (Krysten Ritter) informs Jesse in the past, “It’s best to make such decisions for yourself.” It’s time for Jesse to take charge of his life. Bitch, he’s all set! And I’m pleased we were able to witness it.