John Wick is a rousing action thriller of the sort rarely encountered in theaters these days.
Polisse' is the sort of cop thriller where people do things like angrily bang on a desktop or sweep everything off it. If it happens once, it must happen six times. But every time it did, I wanted to stand up and cheer, which I've never wanted to do for any such thriller.
I see now that dismissing YA books because you're not a young adult is a little bit like refusing to watch thrillers on the grounds that you're not a policeman or a dangerous criminal, and as a consequence, I've discovered a previously ignored room at the back of the bookstore that's filled with masterpieces I've never heard of.
I'd read a lot of thrillers about politicians and presidents, but never one where you flip the stereotypes and make good people bad and bad people good.
I've just done a film in the United States. It's a thriller called 'A Crime', with Harvey Keitel, we play against each other, and it's so great to play in another language. But I'm definitely not American.
The scariest movie I have ever seen, and my favorite horror film is, 'The Exorcist.' It is a must-see horror/thriller classic. I watch it every couple of years.
In every thriller written about Washington, particularly after 9/11, there are good guys and there are bad guys, and there's no gray area at all.
I have lots of records, quite a collection, actually, that I stole from my mom. I have the original 'Thriller' album and I have a really great 'Elton John's Greatest Hits,' and I also have a N.E.R.D. album. Records sound more original. They have more edge.
My first seven novels were contemporary spiritual novels, my next nine had strong elements of fantasy, and now I'm writing thrillers, more as a choice to spread my wings than anything. Writers, like good wine, should mature with age.
I went see the horror thriller, Hannibal. I am a massive fan of Anthony Hopkins. He is superb in the film.
The most distinguishing element of my novels is that I try as hard as I can - within the context of a popular commercial thriller - to make them feel authentic. Drawing on real locations and real events is part of that authenticity.
It's a comedy thriller, brilliantly written and it's full of twists and turns at every page. When I was reading it I was desperate to get to the end to find out what happens, it really hooks you.
There's an explosion of Indian fiction of all kinds, from military thrillers to chicklit. I think that's exciting.
I read a lot of thrillers, especially American crime novels.
What I love about the thriller form is that it makes you write a story. You can't get lost in your own genius, which is a dangerous place for writers. You don't want to ever get complacent. If a book starts going too well, I usually know there's a problem. I need to struggle. I need that self-doubt. I need to think it's not the best thing ever.
Dark City Blue is a freight train of a thriller crashing through some madhouse city night while a bomb's ticking down to zero. It's the cage fighting equivalent of a police procedural: violent, gaudy, and packing heat.
Allthough that doesn't happen often lately, I like to read exciting thrillers and those kinky magazines.
I have never done a thriller, and it will just be really fun for me to heave and pant and run and climb and break windows and scream every once in a while
I've been very lucky at what's happened in my career to date, but playing something as far from me as possible is an ambition of mine - anything from a mutated baddy in a comic book action thriller, to a detective. If anything, I'd like Gary Oldman's career: he's the perfect example of it. I've love to have a really broad sweep of characters - to be able to do something edgy, surprising and unfashionable.
Henri-Georges Clouzot's cool, clammy, twisty 1955 thriller Diabolique is an almost perfect movie about a very nearly perfect murder, a film in which the artist's methods and the killers' are ideally matched, equal in cunning and in ruthlessness. The screenplay, adapted by Clouzot and three other writers from a novel by the crack French crime-fiction team of Pierre Boileau and Thomas Narcejac, is a fantastically elaborate piece of contrivance, but the scrupulous realism of the direction makes the unnatural tale somehow feel entirely likely.
I was never a big fan of horror. I got into it making these films, but I don't ever see myself doing slasher movies. The kind of horror film I like is The Shining. I don't really like slashers, but I love thrillers with tension.
The best of Donald Westlake's pseudonymous thrillers about Parker, the toughest burglar who ever lived. . . .Out of print for years and years, Butcher's Moon is the ultimate Parker novel, best read as an installment in the series as a whole but comprehensible and wholly satisfying on its own.
Disturbing and intriguing. The Synchronicity Factor is much more than a page-turning thriller, for its remarkable plot is rooted in real science and real history.
The thriller is the most popular literary genre of the 20th century.
Carver's best book yet! FROM A CHANGELING STAR combines deft characterization and fascinating extrapolation into a complex, compulsively readable thriller. I wish all science fiction novels could be this good.
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