Do you ever get paranoid you're not being paranoid enough? Chris asks Lee, setting a tense tone as he warns: I think we're being followed. Between high-speed seaside car chases and glimpses of covert CIA gear, the trailer makes it clear that someone is always watching.
The first thing you notice about undertone is how quiet it is; not just in its audio mix, but in how it's shot - primarily steady wide shots that slowly pan across empty rooms, allowing your eyes to frantically scan for something amiss. It's an understated form of filmmaking that allows for the movie's scares to hit all that much harder.
There is an allure about him. There's a warmth to him, and something new about him, but also it's the timing. The backlash of her open relationship with John is really starting to take on a new shape, and I think he's a sort of exciting escape from it too.
To pass the time, the pair play a game they've shared since Daughter's childhood, triumphantly rattling off palindromes - words that read the same backwards and forwards, such as "m-o-m," "d-a-d," "s-i-s" and "r-a-c-e-c-a-r." As the game gets increasingly complex ("name now one man"), it becomes clear that Dana's play is a dark palindrome itself, where circling dialog and damaging relationship dramas repeat themselves.
Peter is a weird guy and a bit younger than Agnes, but he's polite and willing to keep her company, to drink her wine and smoke some crack. (He won't snort powder cocaine, though: that stuff is bad for you, he explains.) And then he wakes up with a bug bite. When Agnes can't see a bug that he points at, frantically, he urges her to look closer. She does-and maybe she sees something.
Fantasy, mystery and psychological thriller series dominate the UK's bestsellers list for 2025, topped by Richard Osman's The Impossible Fortune. The fifth book in his Thursday Murder Club series secured the top position at 391,429 hardback sales. Adult colouring also had a resurgence this year: colouring books aimed at all ages made it into the top 20 chart, according to analysis by NielsenIQ BookData.
For the majority of The Housemaid, it's pretty clear that something's off with the picture-perfect family of the Winchesters. When Nina Winchester (Amanda Seyfried) hires the desperate Millie Calloway (Sydney Sweeney) to be her housemaid, she seems sweet and normal, if a little airheaded. Pregnancy hormones, she reveals conspiratorially to Millie. But don't tell her husband, she wants it to be a surprise ...
Based on Araminta Hall's novel of the same name, "Imperfect Women" examines a crime that shatters the lives of a decades-long friendship of three women. The unconventional thriller explores guilt and retribution, love and betrayal, and the compromises we make that alter our lives irrevocably. As the investigation unravels, so does the truth about how even the closest friendships may not be what they seem.
Despite her American Eagle jeans ad controversy this summer, and her box-office defense of Christy in the fall, the Sydney Sweeney machine can't stop and won't be stopped. Next up in her never-ending press tour is the suburban thriller The Housemaid, which she co-stars in with Amanda Seyfried. (Then Euphoria in the spring. It will never end.) The movie's November 12 seasonal trailer opens with the message, "Season's Greetings from the Winchester Family." But there's no joy or merriment to be found.
When her husband Jackson (Robert Pattinson) moves them out of New York City into his childhood home in rural Montana, she takes the big change in stride. It's a bit of a mess, with old pieces of furniture strewn about, and leaves and dust coating the floor, but she's not opposed to a fixer upper. There's a bit of a rat problem, but they can get a cat, she suggests.
When they meet, explosively, Aggie is riding the tail end of the success of a bestselling memoir, and running out of money. Her marriage collapsed in the aftermath of their son's death in an accident, and Aggie's behaviour towards the young man she believes was responsible has landed her with a restraining order. I really grew to enjoy her company, says Danes.
It's this series of mundane problems that start to snowball until Linda is about to reach her breaking point. And that's where If I Had Legs I'd Kick You, Mary Bronstein's surreal and tense new psychological thriller, holds you in its iron grip, forcing you to feel every new stressor and inconvenience that Linda is experiencing, until you feel like you are about to explode.
In the trailer, audiences meet Linda Liddle (Rachel McAdams) and Bradley Preston (Dylan O'Brien), two colleagues who survive a plane crash and find themselves stranded on a deserted island. Forced to rely on each other, they face both physical and psychological challenges that test their limits. What begins as cooperation soon turns into a darkly humorous and tense battle of wills.
This trio are the key pieces in Guadagnino's cinematic game of chess. The evening is one of fine wine, indoor smoking, and philosophical ponderings, including a student suggesting that Alma's potential promotion to academic tenure would not be due to her extensive career, but rather because she ticks the so-called diversity box of being a woman. The declaration sets the tone for the perspective-shifting story of blurred lines and accusations that is to come.
When the rickety ladder that gets them to a tiny platform at the structure's top falls to smithereens, the women suddenly discover new meanings of SOL. The film is nothing if not an excuse to gloriously parade a series of show-stopping, sweaty-palm scenes, yet it becomes a deeply psychological, intricate twin character study as Mann gradually peels back the layers of Hunter and Becky's up-and-down friendship, and the latter's gradual rediscovery of her courage.
A loose follow-up to the U.S. version of The Office, The Paper tracks a new industry full of frustrations and petty grievances: journalism. Domhnall Gleeson plays Ned, the brand-new editor-in-chief of the Toledo Truth-Teller, a once-great newspaper that has withered in a changing media environment. Other than Oscar Nunez, who returns as accountant Oscar Martinez, this is a whole new cast, although the shooting style and the mood will remind you very much of the happenings at Dunder Mifflin.
Prime Video; available now Waleed Zuaiter, Robin Wright and Laurie Davidson in The Girlfriend. Photograph: Christopher Raphael/Courtesy of Prime Summed up in a sentence A steamy, incestuous adaptation of an excellent novel that pits an adult son's new girlfriend against his mother in an ever-more extreme contest. It has lost little of the book's psychological acuity and retained all of the suspense. Not one to watch with your sons, perhaps, but otherwise enjoy.
What makes a thriller thrill is pacing. The speed at which information emerges dictates the rhythm of our engagement; it's what keeps us coming back week after week. Most good thrillers escalate gradually, with each twist surpassing the last. The Girlfriend,a new Amazon Prime series based on Michelle Frances's book of the same name, directed by and starring Robin Wright,
Welcome, friends, to The Girlfriend, an adaptation of the excellent psychological thriller by Michelle Frances, and an answer to the question many of us have surely pondered just how much of an incest vibe can one get away with instilling in a shiny prestige miniseries, and can anyone get Robin Wright to star and make the whole thing disturbingly credible?
"The complexity of Alma as a character is pure Guadagnino, a natural fit into a cinematic body of work defined by the prospect of voracious hunger, and offers Roberts her best role since 2004's Closer." The film contains a "smart, keenly observed and undoubtedly thorny power play" in what is "an arresting psychodrama", Strong added.
If Tom Ripley lived in LA in 2018 and was really into lo-fi bedroom pop, he might look something like the main character of Lurker. The debut feature from Alex Russell, The Bear and Beef writer-producer, is an elegantly creepy thriller about one super-fan's scheme to become close to his musical idol, transposing Patricia Highsmith's two-man theme into a murkier grey territory, with parasitic attachment giving way to co-dependence that blooms into something that looks like a twisted kind of love.
This ineffably creepy, often unbearably tense and disquieting film has a little of early Christopher Nolan (the Nolan of Following and Memento), with hints of Lynch and Cronenberg in its hallucinatory episodes.
