6 Best Thriller Movies Released Since 1990

Image via MGM Published Jul 31, 2026, 5:05 PM EDT Diego Pineda has been a devout storyteller his whole life. He has self-published a fantasy novel and a book of short stories, and is actively working on publishing his second novel. A lifelong fan of watching movies and talking about them endlessly, he writes reviews and analyses on his Instagram page dedicated to cinema, and occasionally on his blog. His favorite filmmakers are Andrei Tarkovsky and Charlie Chaplin. He loves modern Mexican cinema and thinks it's tragically underappreciated. Other interests of Diego's include reading, gaming, roller coasters, writing reviews on his Letterboxd account (username: DPP_reviews), and going down rabbit holes of whatever topic he's interested in at any given point. Sign in to your Collider account The 1990s were one of the most transformative decades for cinema in history, and the 21st century has thus far produced several of the greatest masterpieces film has ever seen. As such, it should come as no surprise that from 1990 until the present, there have been many thriller movies which have already gone down in history as some of the best in the genre. What's more, they only keep getting better with age, so they'll very likely be talked about a few decades from now with the same kind of reverance and admiration that cinephiles talk about the best thrillers from Hollywood's Golden Age today. But even though there have been many exceptional thriller films made over the course of the last 36 years, there are six in particular that stand out above all the others as some of the most perfect in the history of thrillers. Whether it's a groundbreaking '90s classic like The Usual Suspects or a modern game-changer like Parasite, the best thrillers the world has seen since 1990 are proof of just how suspenseful, well written, and perfectly directed the genre can get when in the hands of master filmmakers. Anyone who loves thriller movies and hasn't seen these six films is seriously missing out. 6 'The Usual Suspects' (1995) Image via Universal Pictures Directed by Bryan Singer and written by a pre-Mission: Impossible Christopher McQuarrie, The Usual Suspects is nothing short of one of the most legendary indie thrillers of all time. The '90s were the Golden Age of and breakout decade for Hollywood independent cinema, allowing personal auteurial visions to flourish in ways that they had rarely been allowed to before. From this cultural re-allignment came Usual Suspects, which earned McQuarrie the Academy Award for Best Original Screenplay in 1996. The whole idea for The Usual Suspects was born out of the simple premise of five men meeting in a police line-up. In a perfect testament to the fact that the most creative and complex thrillers often come from the simplest and most easy-to-summarize set-ups, Singer's magnum opus is a brilliantly dark thriller full of razor-sharp dialogue and consistently jaw-dropping twists. The biggest one of these turns comes right at the very end of the film, and it's one of the most iconic final plot twists in movie history, the sort that completely recontextualizes everything that came before. As such, The Usual Suspects is one of those thriller movies that are even better the second time. 5 'Parasite' (2019) Image via NEON Few countries make thrillers quite as gripping as those made by South Korean filmmakers like Bong Joon Ho. Bong has always been one of the greatest South Korean directors not just of his generation, but of all time, having made several of the best Asian movies of the 21st century. However, never before had the world seen anything quite like the historic Parasite. First-ever non-English-language winner of the Best Picture Academy Award, nothing less than the most prestigious award in the entire film industry, this modern masterpiece is one of the best Best Picture Oscar winners since 2000. But aside from its achievements being historic, Parasite has the quality to show that it deserved to make history in the first place. The way Bong juggles genres in this brilliant social satire is nothing short of genius, and the way it blends with the film's constantly-escalating sense of tension, mystery, and suspense is also absolutely perfect. Parasite's critique of socioeconomic disparities aren't particularly subtle, but Bong isn't a director that's ever been known for being shy with his thematic explorations. Loud, timely, and an awful lot of fun, Parasite is one of the best films of the 21st century so far. Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best PictureIs Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one. 🪜Parasite 🌀Everything Everywhere ☢️Oppenheimer 🐦Birdman 🪙No Country for Old Men FIND YOUR FILM → 01 What kind of film experience do you actually want? The best movies don't just entertain — they leave something behind. ASomething that pulls the rug out — that makes me think I'm watching one kind of film and then reveals I'm watching another entirely. BSomething overwhelming — funny, sad, absurd, and genuinely moving, all at once. CSomething grand and weighty — a film that makes me feel the full scale of what I'm watching. DSomething formally daring — a film that pushes what cinema can even do. ESomething lean and relentless — pure tension with no wasted frame. NEXT QUESTION → 02 Which idea grabs you most in a film? Great films are driven by a central obsession. What's yours? AClass, inequality, and what people are willing to do when desperation meets opportunity. BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart. CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back. DEgo, legacy, and the terror of becoming irrelevant while you're still alive to watch it happen. EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does. NEXT QUESTION → 03 How do you like your story told? Form is content. The way a story is shaped changes what it means. AGenre-twisting — I want it to start in one lane and migrate into something completely different. BMaximalist and genre-blending — comedy, action, drama, sci-fi, all in one ride. CEpic and non-linear — cutting between timelines, building a mosaic of cause and consequence. DA single unbroken flow — I want to feel like I'm living it in real time, no cuts to safety. ESpare and precise — every scene doing exactly what it needs to do and nothing more. NEXT QUESTION → 04 What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you? AA system — invisible, structural, and almost impossible to fight because it has no single face. BThe self — the ways we sabotage, abandon, and fail the people we love most. CHistory — the unstoppable momentum of events that no single person can stop or redirect. DThe industry — the machinery of culture that chews up talent and spits out irrelevance. EPure, implacable evil — a force so certain of itself it becomes almost philosophical. NEXT QUESTION → 05 What do you want from a film's ending? The final note is the one that lingers. What do you want it to sound like? AShock and inevitability — a conclusion that recontextualises everything that came before it. BEarned emotion — I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess. CDevastation and grandeur — an ending that makes me sit in silence for a few minutes after. DAmbiguity — something that leaves enough open that I'm still thinking about it days later. EBleakness — an honest refusal to pretend the world is tidier than it actually is. NEXT QUESTION → 06 Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what's even possible. AA gleaming modern city with a hidden underside — beauty masking rot, wealth masking desperation. BA collapsing suburban life that opens onto something infinite — the multiverse of a single ordinary person. CThe corridors of power and science at a world-historical turning point — where decisions echo for decades. DThe grimy, alive chaos of New York and Hollywood — fame as both destination and trap. EVast, indifferent landscape — desert and highway where violence arrives without warning or reason. NEXT QUESTION → 07 What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable. AProduction design and mise-en-scène — every frame composed to carry meaning beneath the surface. BEditing and tonal control — the ability to move between registers without losing the audience. CScore and sound design — music that becomes inseparable from the dread and awe of what you're watching. DCinematography as performance — the camera not recording events but participating in them. ESilence and restraint — what's left unsaid and unshown doing more work than any dialogue could. NEXT QUESTION → 08 What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you. ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure. BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary. CA brilliant, tortured figure whose gifts and flaws are inseparable from each other. DA self-destructive artist whose ego is both their superpower and their undoing. EA quiet, principled person trying to make sense of a world that has stopped making sense. NEXT QUESTION → 09 How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately. AI love a slow build when I know the payoff is going to be seismic — patience for a devastating reveal. BGive me relentless momentum — I want to feel breathless and emotionally spent by the end. CEpic runtime doesn't scare me — if the material demands three hours, give me three hours. DI want it to feel propulsive even when nothing is technically happening — restless energy throughout. EDeliberate and unhurried — I want dread to accumulate in the spaces between the action. NEXT QUESTION → 10 What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want? AUnsettled — like I've just seen something I can't fully explain but can't stop thinking about. BMoved and energised — like the film reminded me what actually matters and gave me something to hold onto. CHumbled — like I've been in the presence of something genuinely important and overwhelming. DExhilarated — like I've just seen cinema doing something it's never quite done before. EHaunted — like a cold, quiet dread that stays with me for days. REVEAL MY FILM → The Academy Has Decided Your Perfect Film Is…Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works. ParasiteYou are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho's Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it's ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image. Everything Everywhere All at OnceYou want it all — and this film gives you all of it. The Daniels' Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn't want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it's about. OppenheimerYou are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan's Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort. BirdmanYou are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it's about. Alejandro González Iñárritu's Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor's ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn't be possible. Michael Keaton's performance and Emmanuel Lubezki's restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all. No Country for Old MenYou are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers' No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be. ↻ RETAKE THE QUIZ 4 'Oldboy' (2003) Image via Tartan Films As if any more proof were needed that South Korean filmmakers are absolute masters of the thriller genre, there's also Park Chan-wook, who has made several thriller masterpieces over the course of his career. The question of which one's the best of the bunch, however, isn't actually much of a question at all. It has to be Oldboy, one of the best action thrillers of the 2000s, as well as one of the most disturbing crime movies ever made. Oldboy is not for the faint of heart, but the way Park uses shock value here always feels perfectly calculated and artfully deliberate instead of gratuitous or exploitative. Exquisitely character-driven and packed with jaw-dropping twists, including some of the most shocking final twists toward its showstopping third act, Oldboy is a psychological thriller that all those with the stomach for it should check out at least once in their lives. Full of perfectly shot action sequences and emotionally stirring character moments, it's one of the most well-rounded thrillers of modern times. 3 'Memento' (2000) Before he was Academy Award winner Christopher Nolan, king of Hollywood blockbusters; he was up-and-coming indie filmmaker Christopher Nolan, the man whose sophomore feature, Memento, took the world by storm as soon as it premiered at the Venice Film Festival at the tail end of the 20th century. Today, there are still those who would confidently refer to this as Nolan's best movie to date, and for good reason. It may lack the epic scale or sense of spectacle of his newer blockbuster fare, but that is precisely where its thematic, narrative, and aesthetic strength comes from. There are plenty of reasons why Memento is one of the best films of the 2000s, not least of which is the genius way in which Nolan structures the story in reverse chronological order. This never feels like a cheap gimmick, but rather like a masterfully-constructed framing device that makes the film consistently surprising at every turn. By the time the credits roll, Memento has recontextualized itself as a drama of surprising philosophical depth, exploring the lengths to which people will go in order to give their lives some semblance of meaning. 2 'Se7en' (1995) Image via New Line Cinema By the time 1995 rolled in, David Fincher was still very far from being the hugely-acclaimed filmmaker that cinephiles celebrate him as today. After all, by that point, the only feature film under his belt was Alien³. That's when Se7en came along. When Fincher was brought on board the project, he was still better-known for his work directing music videos, and he wasn't a fan of the script's police procedural elements. Even still, he was so fascinated by the escalating plot and the incredibly bleak story that he agreed to direct. The result? One of the most fatalistic movies of all time.But as overwhelmingly bleak as it is, Se7en still managed to make over $300 million dollars at the box office worldwide, immediately establishing Fincher as a talent to look out for in the thriller space. Today, he's one of the greatest thriller filmmakers currently working. That would have probably never happened without Se7en, a psychological thriller so terrifyingly pessimistic and violent that there are those who would argue it qualifies as a horror movie, too. 1 'The Silence of the Lambs' (1991) Image via Orion Pictures There's really no question about it: Since the arrival of the '90s, there still hasn't been a thriller quite as iconic, influential, or legendary than The Silence of the Lambs. It's the latest movie to have won all Big Five Oscars (Best Picture, Director, Screenplay, Actor, and Actress) for a reason. Anchored by Anthony Hopkins and Jodie Foster delivering some of the strongest work of their careers, this psychological thriller/horror masterpiece is one of the greatest serial killer mystery movies ever made. This is yet another film that definitely demands that the viewer have a strong stomach in order to get through the whole film, but watching Silence of the Lambs at some point is nevertheless a bona fide requirement for considering oneself a cinephile. It's one of those horror movies that are perfect throughout, a thematically complex character-driven gem bolstered by Ted Tally's timeless script and Jonathan Demme's downright flawless direction. Since 1990, The Silence of the Lambs is the best thriller movie that the big screen has received—and it'll take something very special to take that top spot away from it.