Based on the chilling bestseller by Stephen King, Misery was brought to the screen by director Rob Reiner as one of the most effective thrillers of the 1990s. From a brilliant adaptation by screenwriter William Goldman, Reiner turned King's cautionary tale of fame and idolatry into a mainstream masterpiece of escalating suspense, translating King's own experience with obsessive fans into a frightening tale of entrapment and psychotic behavior. Kathy Bates deservedly won an Academy Award for her performance as Annie Wilkes, an unbalanced devotee of romance novels written by Paul Sheldon (James Caan), whose books provide Annie with a much-needed escape from her pathetic life and her secret, violent past. After Annie rescues the injured Sheldon from a car accident, she seizes the opportunity to nurse her favorite writer back to health, but her tender loving care soon turns to terrorism as she demands that Sheldon write his latest novel according to her wish-fulfillment fantasies. From this point forward, Misery percolates to a boil as equal parts mystery, thriller, and cleverly dark comedy, with the helpless author pitched in deadly warfare against his number one fan. While Bates carefully modulates her role from doting kindness to sympathetic loneliness and finally to horrifying ferocity, Caan is equally superb as the celebrated author who must literally write for his life. It's essentially a two-actor film, but Richard Farnsworth and Lauren Bacall are excellent in supporting roles as they investigate the writer's mysterious disappearance. Frightening, funny, and totally irresistible, Misery was such a hit that some of Bates's dialogue entered the popular lexicon (particularly her nagging reference to Caan as "Mister Man"), and its nail-biting thrills remain timelessly intense. -Jeff Shannon.

In the spy-crazed film world of the 1960s, Len Deighton's antihero Harry Palmer burst onto the scene as an antidote to the James Bond films. Here was a British spy who had a working-class accent and horn-rimmed glasses and above all really didn't want to be a spy in the first place. As portrayed by Michael Caine, Palmer was the perfect antithesis to Sean Connery's 007. Unlike that of his globetrotting spy cousin, Palmer's beat is cold, rainy, dreary London, where he spends his days and nights in unheated flats spying on subversives. He does charm one lady, but she's no Pussy Galore, just a civil servant he works with, sent to keep an eye on him. Eventually he's assigned to get to the bottom of the kidnapping and subsequent "brain draining" of a nuclear physicist, all the while being reminded by his superiors that it's this or prison. Things begin to get pretty hairy for Harry. Produced by Harry Saltzman in his spare time between Bond movies, the film also features a haunting score by another Bond veteran, composer John Barry. -Kristian St. Clair, Amazon. [+]

David Lynch peeks behind the picket fences of small-town America to reveal a corrupt shadow world of malevolence, sadism and madness. From the opening shots Lynch turns the Technicolor picture postcard images of middle-class homes and tree-lined lanes into a dreamy vision on the edge of nightmare. After his father collapses in a preternaturally eerie sequence, college boy Kyle MacLachlan returns home and stumbles across a severed human ear in a vacant lot. With the help of sweetly innocent high school girl (Laura Dern), he turns junior detective and uncovers a frightening yet darkly compelling world of voyeurism and sex. Drawn deeper into the brutal world of drug dealer and blackmailer Frank, played with raving mania by an obscenity-shouting Dennis Hopper in a career-reviving performance, he loses his innocence and his moral bearings when confronted with pure, unexplainable evil. Isabella Rossellini is terrifyingly desperate as Hopper's sexual slave who becomes MacLachlan's illicit lover, and Dean Stockwell purrs through his role as Hopper's oh-so-suave buddy. Lynch strips his surreally mundane sets to a ghostly austerity, which composer Angelo Badalamenti encourages with the smooth, spooky strains of a lush score. Blue Velvet is a disturbing film that delves into the darkest reaches of psycho-sexual brutality and simply isn't for everyone. But for a viewer who wants to see the cinematic world rocked off its foundations, David Lynch delivers a nightmarish masterpiece. -Sean Axmaker.

Movie critic Roger Ebert made this amusing observation about Malice: "This is the only movie I can recall in which an entire subplot about a serial killer is thrown in simply for atmosphere". He's referring to the fact that this hokey but highly charged thriller is so packed with plot twists and red herrings that you'll soon find yourself so confused that you just have to sit back and hope that it will all make sense by the time the credits roll. It never does make much sense, but the movie at least has the look, feel, and twisted momentum of a really good thriller, and the talent on both sides of the camera is pretty impressive. Alec Baldwin plays a hot-shot surgeon who meets up with an old med-school buddy (Bill Pullman), whose wife (Nicole Kidman) has no objections when Baldwin moves into the upstairs room of their New England Victorian home. The situation's ripe for intrigue, suspicion, temptation, emergency surgery, legal proceedings, and just about anything else you'd find in a movie that desperately struggles to out-Hitchcock Hitchcock. Talk about McGuffins-this movie's chock full of 'em! When the plot thickens to the consistency and clarity of quicksand, you can still enjoy the darkly stylish work of master cinematographer Gordon Willis-or you can check out director Harold Becker's more coherent thriller Sea of Love. With Kidman and Baldwin working up a steamy lather, this one's just fun enough to be an agreeable waste of time. -Jeff Shannon.

Reversal of Fortune focuses on one of the most intriguing criminal trials of the 1980s, that of Claus von Bülow, who was accused of sending his rich wife Sunny into a permanent coma with an overdose of insulin. Director Barbet Schroeder, working from Nicholas Kazan's evocative, darkly humorous script, turns the story into both a look at the lives of rich folks with too much time on their hands and a whodunit, as lawyer Alan Dershowitz (Ron Silver) prepares to defend von Bülow (Jeremy Irons) in court. Irons won an Oscar for his spooky, knowing performance, which hints at depths of degeneracy without ever putting a dent in a veneer of bored elegance. The contrast between the hard-charging Dershowitz and his eager-beaver Harvard law students and the eternally languid von Bülow adds unexpected humour. -Marshall Fine.

Superior to Martin Scorsese's punishing 1991 remake, this 1962 thriller directed by J. Lee Thompson (The Guns of Navarone) stars Robert Mitchum as a creepy ex-con angry at the attorney (Gregory Peck) whom he believes is responsible for his incarceration. After Mitchum makes clear his plans to harm Peck's family, a fascinating game of crisscrossing ethics and morality takes place. Where the more recent version seemed trapped in its explicitness, Thompson's film accomplishes a lot with a more economical and telling use of violence. The result is a richer character study with some Hitchcockian overtones regarding the nature of guilt. -Tom Keogh.

San Francisco has been the setting of a lot of exciting movie car chases over the years, but this 1968 police thriller is still the one to beat when it comes to high-octane action on the steep hills of the city by the Bay. The outstanding car chase earned an Oscar for best editing, but the rest of the movie is pretty good, too. Bullitt is a perfect star vehicle for cool guy Steve McQueen, who stars as a tenacious detective (is there any other kind?) determined to track down the killers of the star witness in an important trial. Director Peter Yates (Breaking Away) approached the story with an emphasis on absolute authenticity, using a variety of San Francisco locations. Jacqueline Bisset and Robert Duvall appear in early roles, and Robert Vaughn plays the criminal kingpin who pulls the deadly strings of the tightly wound plot. -Jeff Shannon San Francisco has been the setting of many exciting movie car chases over the years but the one in Bullitt is still the one to beat when it comes to high-octane action on the city's steep hills. The outstanding car chase earned an Oscar for best editing but the rest of the movie is pretty good too. This 1968 police thriller is a perfect star vehicle for cool guy Steve McQueen, who stars as a tenacious detective (is there any other kind?) determined to track down the killers of the star witness in a major trial. Director Peter Yates (Breaking Away) approached the story with an emphasis on absolute authenticity, using a variety of San Francisco locations. Jacqueline Bisset and Robert Duvall appear in early roles, and Robert Vaughn plays the criminal kingpin who pulls the deadly strings of the tightly wound plot. [+]

LUCY IS A HOOKER WHO NEEDS NO-ONE. A STREETWISE KID WITH ONLY ONE AIM. survival. she is a witness to a brutal murder of one of her clients.

Described by director Mark Pellington as "a psychological mystery with naturally surreal overtones", The Mothman Prophecies begins like an ambitious episode of The X-Files. Richard Gere brings adequate torment, portent, and ambiguity to his role as a Washington Post reporter and grieving widower plagued by a mysterious, unseen urban legend known as the Mothman. Pellington develops subtle doom and gloom that's as effective as the paranoid streak he brought to Arlington Road. As the Mothman terrifies a West Virginia town, he remains an enigma, glimpsed almost subliminally. This-along with a magnificently creepy soundtrack-amplifies the movie's surreal overtones while keeping everything else (unsettling phone calls, prophesied disasters, suggestions of the afterlife) completely unexplained. With Laura Linney and Debra Messing in underdeveloped roles, The Mothman Prophecies feels a bit underdeveloped itself (and ends in desperate need of Mulder and Scully). But if you like your weirdness open-ended, this moody thriller's worth a look. -Jeff Shannon.

In a time when it seems that every other movie makes some claim to being a film noir, L. A. Confidential is the real thing: a gritty, sordid tale of sex, scandal, betrayal and corruption of all sorts in 1940s Hollywood. The Oscar-winning screenplay is actually based on several titles in James Ellroy's series of chronological thriller novels (including the title volume, The Big Nowhere, and White Jazz)-a compelling blend of LA history and pulp fiction that has earned it comparisons to the greatest of all Technicolor noir films, Chinatown. Kim Basinger richly deserved her Supporting Actress Oscar for her portrayal of a conflicted femme fatale; unfortunately, her male co-stars are so uniformly fine that they may have cancelled each other out with the Academy voters: Russell Crowe, Guy Pearce, Kevin Spacey and James Cromwell play LAPD officers of varying stripes. Pearce's character is a particularly intriguing study in Hollywood amorality and ambition, a strait-laced "hero"; (and son of a departmental legend) whose career goals outweigh all other moral, ethical, and legal considerations. If he's a good guy, it's only because he sees it as the quickest route to a promotion. -Jim Emerson.