The best thriller movies on Netflix New Zealand

Sometimes all you want is to relax on the couch with a very un-relaxing movie. Tony Stamp has you covered, with this formidable list of the best thrillers available on Netflix for Aotearoa subscribers.

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* Best new movies & TV series on Netflix
* All new streaming movies & series

Alone (2020)

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John Hyams is proving himself as much of an expert at directing sturdy genre thrills as his dad Peter was in the ‘70s through ‘90s, and he excels at stripped-down horror exercises like this one. After embarking on a long drive, a woman finds herself the focus of a mysterious stranger, who proceeds to stalk her. The game of cat and mouse that ensues is expertly constructed and appropriately hair-raising.

American Psycho (2000)

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Director Mary Harron brilliantly distils Bret Easton Ellis’ supremely upsetting novel into something far more incisive and to the point, hitting all the same targets involving 1980s capitalism along the way. Christian Bale is brilliantly deranged and the movie is blackly comedic in ways that still resonate: just look at how many memes have resulted all these years later.

Creep (2014)

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A two-hander between Mark Duplass and director Patrick Bryce, as the former hires the latter to film a video diary for his unborn kid. How much of this is actually true is a big part of the fun, and over its duration the film toys with your trust, much like Duplass’s character toys with Bryce’s. A great example of low budget thrills that will keep you hooked.

El Camino (2019)

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A rewatch of the feature-length Breaking Bad epilogue confirms it more than justifies its existence, both as a touching (and overdue) sendoff for Aaron Paul’s Jesse Pinkman, and a new story of retribution that leans into the Western tropes BB often flirted with. Ingeniously structured through time-skipping flashbacks alongside a linear present-day narrative, it let director Vince Gilligan flex his visual chops, and get poetically existential along the way.

Emily the Criminal (2022)

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A small-scale crime flick that makes its points about the student loan system and income inequality in America, without letting them get in the way of a good yarn. John Patton Ford’s debut feature showcases another great dramatic turn from Aubrey Plaza, as she dips a toe into the world of petty crime and quickly finds herself treading water. When romantic entanglement enters the equation, the movie graduates from snazzy thriller to great film full stop.

Fair Play (2023)

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This boardroom drama was tagged as an ‘erotic thriller’ on its release, perhaps because sex scenes are such a rarity these days. It does deliver on the second half of that description however, as tensions rise between colleagues/ fiances Phoebe Dynevor and Alden Ehrenreich (both excellent), as they climb the corporate ladder. Director Chloe Domont ensures that neither party is entirely in the clear ethically, and makes it clear the whole game is rigged regardless.

Fall (2022)

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As someone with a mild fear of heights I found many parts of this genuinely hard to watch, even though I knew I was looking at a special effect. Two women find themselves stranded 2000 ft in the air on a decrepit TV tower, after a chain of events that will have you yelling at your screen for them to stop. They don’t, and the movie manages to stretch out the premise to feature length while staying surprising.

Gerald’s Game (2017)

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At times Mike Flanagan’s Stephen King adaptation is tough stuff, with Carla Gugino finding herself handcuffed to a bed after some foreplay-gone-wrong—having only a corpse and increasingly aggro dog for company. Inventive and thrilling, Flanagan makes the most of the film’s confined setting and constantly surprises.

Gone Girl (2014)

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David Fincher’s meticulous approach to filmmaking results in his movies being endlessly rewatchable, with this Gillian Flynn adaptation no exception. The usual immaculate surfaces, shocking outbursts of violence, and Reznor/ Ross score are all present, with Ben Affleck in the crosshairs as the lead, a standout turn from Rosamund Pike, and surprisingly enthralling support from Tyler Perry.

I Don’t Feel at Home in this World Anymore (2017)

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National treasure Melanie Lynskey stars as a nursing assistant whose house is burgled, and winds up looking for vigilante justice when spurred on by an against-type Elijah Wood. Directed by Macon Blair (star of Blue Ruin and Green Room), it’s a comedic, Coen-tinged caper that gets more ludicrous, and more brutal, as it goes. Bonus points for the appearance of David Yow, frontman for legendary band The Jesus Lizard.

The Killer (2023)

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Even viewed as nothing more than a revenge tale involving a meticulous hitman, there’s no denying that star Michael Fassbender and the writer/ director team of Andrew Kevin Walker & David Fincher, (partnering for the first time since Se7en), are firing on all cylinders. There’s also plenty going on under the hood though, from its satire of corporate hustle culture, to the wry suggestion that its lead may have a few things in common with the film’s famously fastidious director.

Margin Call (2011)

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This fictionalised look at the 24 hours leading up to the 2008 financial crisis features a stacked cast and manages to make investment banking exciting, whether you understand the jargon or not. If you can follow it, there’s context to be gained about the world of high finance; if not, powerhouse acting will keep you hooked.

Munich (2005)

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One of Spielberg’s most underrated films is as timely as ever, concerning Mossad’s attempts to wipe out the Palestinian militant group who killed a number of Israeli athletes at the 1972 Olympics in Munich. To the director’s credit, the film focuses on the morality behind these acts, and whether revenge can ever truly satisfy. He orchestrates a series of unsettling set pieces and builds to a haunting final image.

Nightcrawler (2014)

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Jake Gyllenhall gives one of his finest performances as an angry and slimy petty thief turned photojournalist. This film is character study in the mould of the ‘70s greats, also satirising the current news landscape. It’s a tense thriller to boot, mostly because you never know what repugnant thing Bloom’s going to do next.

Paprika (2006)

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Helmed by Satoshi Kon, master director of multiple reality-scrambling animations, Paprika concerns a device which allows people to enter others’ dreams, and it might be used for criminal purposes. Worth pointing out this was years prior to Christopher Nolan’s Inception. Kon pushes the premise into psychedelic, visually-bombastic territory, while retaining the spine of a precise, propulsive tale of cops and robbers.

Parasite (2019)

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Korea’s first Oscar winner is a timely tale of class conflict with Hitchcock level suspense, marking a high water mark for director Bong Joon-Ho. There’s so much here to recommend, including fantastic performances, a plot that keeps you constantly on your toes, and a generous helping of social commentary. When asked why his film connected so strongly with western audiences, the director said: “We all live in the same country now: that of capitalism.”

Rebel Ridge (2024)

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A procedural thriller masquerading as an action movie, this is an absolute blast, denying the audience what they think they want, and delivering what they need. Aaron Pierre is a major discovery, all poise and quiet strength, with Jeremy Saulnier’s direction gripping the audience from the first frame. Rarely have scenes of two people talking been this thrilling.

Red Eye (2005)

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Eighteen years before his Oscar-winning turn in Oppenheimer, Cillian Murphy could be found chewing the scenery in this high altitude thriller, playing a terrorist set on assassinating an American politician. How he intends to do that at 30,000 feet is part of the fun, but it relates to Rachel McAdams’ Lisa Reisert and her dad (Brian Cox). Directed by horror maestro Wes Craven, it’s a wickedly entertaining popcorn flick.

Se7en (1995)

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Revisiting this 1995 shocker confirms what a massively effective procedural pulse-pounder it is, with plenty to offer beyond its infamous crime scenes (it’s easily forgotten how little on screen violence there actually is). Crucial to the whole affair is the effort made to humanise Freeman, Pitt and Paltrow’s characters: glimpses of warmth amongst all the carnage that lead toward that infamous ending.

The Stranger (2022)

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This enthralling Aussie true crime thriller follows Joel Edgerton, who works as part of an elaborate, intricate police operation designed to trap a suspected killer (played by expert on-screen creep Sean Harris). It’s fascinating not just in the complexity of the plan, but the way it’s presented—the “behind the scenes” plotting only glimpsed, with the focus being on the two leads’ growing friendship and trust.

The Talented Mr Ripley (1999)

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Anthony Minghella was known for handsomely-mounted productions, and the sunkissed Italian coast provides a beautifully scenic background for this Patricia Highsmith adaptation. Matt Damon is great at playing schemers, never more so than here, as he worms his way into Jude Law and Gwyneth Paltrow’s good graces and proceeds to wreak havoc.

Uncut Gems (2019)

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This one tends to be described as a dark comedy, and it is, but ask anyone who’s seen it and they’ll mention how exciting it is to watch…and, okay, stressful. It’s very stressful. Like all the Safdie brothers’ films, the chaos is the point, the film becoming increasingly frenzied as jeweller Howard makes one terrible decision after another. He’s played by none other than Adam Sandler, in a role that scooped up multiple Best Actor awards.

Woman of the Hour (2024)

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Anna Kendrick’s directorial debut excels in its tensest moments, depicting the acts of real-life serial killer Rodney Alcala in the late 70s. It’s a fractured narrative that also shows his appearance on The Dating Game, with everything involving him feeling appropriately ugly, and respectful to the victims. Kendrick also stars as a contestant on the show, her plot line somewhat broad and comedic by comparison. But taken overall, it’s an impressively taught thriller.


Titles are added and removed from his page to reflect changes to Netflix’s catalogue. The reviews no longer available on this page can be read here.