Crime / Mystery

William Powell and Myrna Loy once again prove why they were one of Hollywood’s most beloved screen pairs. Powell’s Nick Charles is still suave, debonair, and quick-witted—his charm only deepened by a paternal streak that adds warmth to the character. Loy's Nora is as elegant and sharp as ever, serving as Nick’s partner in both life and sleuthing. Their on-screen relationship is a perfect marriage of equals—sophisticated yet playful—and remains a high point of the series.

When Ocean’s 11 premiered in 1960, it was less a film and more a cultural event. Marketed as the ultimate Rat Pack vehicle, it brought together the most charismatic entertainers of the era—Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop—for a stylish caper set against the glittering backdrop of Las Vegas.

With a fresh setting, a new ensemble of suspects, and a charming addition to the Charles family in the form of their infant son, Another Thin Man offers a delightful blend of mystery, comedy, and domestic hijinks. Though some critics view it as a softer installment than its predecessors, the film remains a thoroughly enjoyable chapter in one of cinema’s most stylish detective franchises.

After the Thin Man (1936) is the sparkling sequel to the smash hit The Thin Man (1934), and it reunites William Powell and Myrna Loy as Nick and Nora Charles, cinema’s most stylish and witty detective couple.

Revenge of the Pink Panther (1978) is the fifth and final Pink Panther film to be released during Peter Sellers' lifetime, and the last of the series made before his death in 1980. Directed once again by Blake Edwards, the film continues the comic misadventures of the eternally clumsy Inspector Jacques Clouseau, this time embroiled in a plot involving the French underworld, international intrigue, and mistaken death.

Released in 1986, Running Scared is a quintessential 1980s buddy-cop action-comedy that blends sharp dialogue, charismatic leads, and brisk pacing with an emotional core that's rare for the genre. Directed by Peter Hyams (Capricorn One, 2010), the film pairs Billy Crystal and Gregory Hines as two wisecracking Chicago cops on the brink of retirement who are forced back into action when a drug lord they've been chasing resurfaces.

Fritz Lang’s M (1931) is widely regarded as one of the greatest and most influential films ever made. A chilling hybrid of crime thriller, social drama, and proto-noir, it was Lang’s first sound film and remains his masterpiece.

Orson Welles’s Touch of Evil (1958) is widely regarded as the last true film noir of Hollywood’s classic era—and arguably one of the greatest. It’s a feverish, atmospheric, and at times grotesque crime drama, brimming with visual invention and moral ambiguity. Made on a modest budget and dismissed by its studio, the film was re-edited and truncated before its release, only to be rediscovered and reappraised decades later.

Stanley Kubrick’s The Killing (1956) is widely considered one of the most influential crime films of its era—and justly so. A taut, razor-sharp noir thriller that crackles with intensity and precision, it marked Kubrick’s first mature work and set the tone for his meticulous, often clinical approach to storytelling. Adapted from Lionel White’s novel Clean Break, The Killing is both a triumph of narrative innovation and an exemplary piece of low-budget filmmaking that has cast

Michelangelo Antonioni’s Blow-Up (1966) is a landmark of 1960s cinema—a work that simultaneously captures the cultural and aesthetic energy of Swinging London and interrogates the very nature of reality, perception, and meaning. It was Antonioni’s first English-language film, and perhaps his most internationally influential, earning the Palme d’Or at Cannes and launching a new era of art cinema into the mainstream.

The Vanishing (Spoorloos, 1988), directed by George Sluizer, is a psychological thriller that unnerves not through action or gore, but through its cold, clinical exploration of obsession, evil, and the terrifying ambiguity of disappearance. A Dutch-French production based on the novella The Golden Egg by Tim Krabbé, the film is a stark, tightly wound meditation on the unknown—and on the monstrous banality of evil.

Robert Altman’s The Long Goodbye (1973) is less a traditional adaptation of Raymond Chandler’s 1953 detective novel than a postmodern riff on it—a revisionist noir, a sun-drenched elegy for the hardboiled genre, and a sly, satirical portrait of 1970s Los Angeles in moral and cultural freefall.

Point Blank (1967) is a film of shattered time, splintered identity, and existential revenge. Directed by the visionary John Boorman in his first American production, it takes the skeletal framework of a pulp crime thriller and transforms it into a hypnotic, existential, and almost surrealist neo-noir.

Louis Malle’s Elevator to the Gallows (Ascenseur pour l’échafaud) is a landmark of postwar French cinema—a taut, stylish thriller that bridges the fatalism of American film noir with the existential anxiety and aesthetic innovation of the French New Wave. Released in 1958, when Malle was only 24 years old, the film marked both his feature debut and the beginning of a long, varied, and daring directorial career.

Shadow of a Doubt (1943) is often described by Alfred Hitchcock himself as his personal favorite among all his films—and with good reason. In many ways, it’s one of his most psychologically disturbing works, despite lacking the overt violence or technical bravura of his later classics. This slow-burning thriller unfolds in broad daylight, on the sunny porches and quiet streets of small-town America, making its themes of corruption, duality, and evil all the more unsettling.

Blood Simple (1984) is a film that feels at once timeless and radical. As the feature debut of Joel and Ethan Coen, it is a genre-defining work that would become the foundation for one of the most distinctive and influential filmographies in American cinema.

The Lady from Shanghai (1947) is one of the most dazzlingly strange and stylistically radical entries in the American film noir canon. Directed, written, and starred in by Orson Welles, the film is a baroque fever dream of betrayal, sexual obsession, and psychological disintegration, cloaked in noir trappings but pulsating with the director’s anarchic sensibility.

Fritz Lang’s The Big Heat (1953) stands as one of the darkest and most subversive entries in the American film noir canon. On the surface, it's a taut crime thriller about a cop battling a web of corruption—but beneath its hardboiled plot and terse dialogue lies a smoldering fury about systemic rot, male violence, and the cost of moral conviction. It’s a film as explosive as its title, seething with tension and uncompromising in its depiction of brutality—especially against w

Brian De Palma’s Dressed to Kill (1980) is a provocative, stylized thriller that operates simultaneously as homage, erotic fantasy, psychological horror, and transgressive spectacle. Positioned squarely in the tradition of Hitchcockian suspense, the film draws heavily from Psycho (1960) in structure, theme, and visual language, but overlays that foundation with De Palma’s distinct cinematic bravado—split screens, dreamlike slow motion, voyeuristic framing, and a swirling Pino

Klute (1971) is a seminal work of American cinema that defies genre boundaries and expectations. On the surface, it’s a detective thriller—part of what would become director Alan J. Pakula’s "Paranoia Trilogy" alongside The Parallax View (1974) and All the President’s Men (1976). But beneath that noir-inspired veneer lies a penetrating character study of a woman negotiating her autonomy, trauma, and identity in a world dominated by male power.