A good thriller has the power to keep you enthralled from the beginning to the end. Whether action-packed adrenaline rushes or masterful mysteries with sensational suspense, a thriller should elicit a satisfying reaction when the credits roll. Imagine a thriller film so good that it spawns not one but two follow-ups! A good thriller trilogy, whether unifying stories or united by themes, will keep you glued to your screen begging for one more.
We’re here to celebrate eight near-perfect thriller trilogies. From epic mysteries led by the world’s most beloved sleuth to the most iconic desert-set dystopian movies, these trilogies remain a major part of cinema history because they were so good, there was more in store. Now, these are the films that fall just shy of perfection. Whether it’s due to a single film that falls flat or lacks the legacy to boost them up a notch, these near-perfect film trilogies are most certainly worth a weekend watch.
8
The Apartment Trilogy
The reason Roman Polanski‘s unofficial trilogy falls into near-perfect status is due to the filmmaker’s legacy and that the bookend films are not nearly as extraordinary as the middle film. Which also just so happens to be one of the greatest psychological horror films of all time. Neverthless, Polanski’s Apartment Trilogy features three standalone psychological horror films thematically linked by their confined apartment settings. Together, they explore themes of isolation, paranoia, and the gradual loss of sanity. In the first film, Repulsion, Carol Ledoux (Catherine Deneuve), a withdrawn young woman, is left alone in her sister’s apartment. She spirals into deep depression, intense paranoia, and homicidal mania as she hallucinates unwanted sexual advances and violently attacks those who enter her space. The second and most well-known, Rosemary’s Baby, tells the story of Rosemary Woodhouse (Mia Farrow), who moves into a historic New York apartment building with her husband, Guy (John Cassavetes). As she goes through a difficult pregnancy, she becomes increasingly isolated and paranoid, eventually suspecting that her eccentric neighbors and her husband belong to a sinister cult. Finally, The Tenant chronicles Trelkovsky (Polanski), a quiet man who moves into a Parisian apartment where the previous tenant committed suicide. He becomes consumed by the belief that his hostile neighbors are gaslighting him and plotting to force him to take on the dead tenant’s identity.
Polanski treats physical space as a living, hostile character that traps the protagonist’s mind. Through tight, indoor settings, these stories turn normal rooms into rooms of deep terror where a descent into madness occurs and where the blurred lines of reality are destined to torment its victim. The walls come to life as the rooms take shape, crack open, or close in to capture the mindset of its subject. The once safe spaces are also long gone, as outside forces or evil neighbors take control. The three films work masterfully together as paranoia is in full bloom. Each protagonist faces escalating pressure, gaslighting, or imagined threats from the outside creeping in. Domestic boundaries break down, leaving audiences to fear their own homes. Though the filmmaker’s legacy may be marred, there’s absolutely denying the sheer brilliance of his work. If you loved Rosemary’s Baby, the other two are must-watches at least once.
7
The Pusher Trilogy
If the Pusher Trilogy may sound unfamiliar, that’s not necessarily a major shock to the system. They do fall into the underrated gem category of cinema. Brought to life by Danish filmmaker Nicolas Winding Refn, the trilogy explores the violent criminal underworld of Copenhagen through gritty realism. Each film follows a different subject as they deal with debt, stress, and total ruin over the course of a few highly intense days. In Pusher, Frank (Kim Bodnia), a mid-level dealer, has his life fall apart after a botched heroin deal leaves him owning a massive debt to a ruthless Serbian gang leader named Milo (Zlatko Burić). Pusher II: With Blood on My Hands centers on Frank’s ex-con friend Tony (Mads Mikkelsen) as he attempts to earn the respect of his criminal father and rebuild his broken life after prison. Pusher III: I’m the Angel of Death shifts the action to the aging kingpin Milo as he juggles cooking for his daughter’s birthday party, struggling with sobriety, and managing a chaotic, disastrous drug shipment. The Pusher Trilogy showcases how crime is no glamorous trade as each central character is one bad deal away from total collapse.
Through masterful realism, Pusher pushes its main characters to the brink. In turn, the action is tantalizing. With a raw documentary style direction, each film offers different perspectives as different levels and assets of Copenhagen’s criminal underworld are innately captured. The trilogy brings an unflinching examination on the mundane consequences of a life of crime. Shot on location in the Danish city, Refn’s abiltity to bring the backstreets into the spotlight provides a spellbinding and enriching perspective. By working their way through the hierarchy, the Pusher films work as a cohesive unit, yet have immense standalone depth. But truly, seeing the ecosystem in action across the three films is worth the journey. The films are wonderfully raw and natural, as the dialogue is properly messy and entirely human. The Pusher Trilogy is also responsible for launching Mikkelsen into global stardom, so we should be thankful for that! Though there are remakes, nothing beats the originals.
6
Robert Langdon Trilogy
If there was one book that took the world by storm in 2003, it was The Da Vinci Code by Dan Brown. It was inevitably going to be given a theatrical life. It was so good, the sequel novels were also adapted into feature films. Centering on the fictional character Robert Langdon (Tom Hanks), a Harvard symbologist, the action-adventure movies may not have been critical darlings, but they continued our fascination with the genre. In The Da Vinci Code, Langdon investigates a murder at the Louvre Museum, uncovering a hidden religious secret guarded for centuries. Angels & Demons moved the action to Rome and Vatican City as Langdon attempts to stop an ancient society known as the Illuminati from destroying the Vatican with stolen antimatter. Rounding out the trilogy was Inferno, which finds Langdon, waking up with amnesia, racing against the clock to stop a madman from releasing a global biological plague linked to Dante’s Inferno. Sitting right in the middle of escapism and guilty pleasure, the Robert Langdon film trilogy uses it’s time to educate while entertaining.
A fan-favorite trilogy, Ron Howard directs the film with panache and flair. By combining high-stakes global treasure hunts, stunning real-world backdrops, and the brilliance of Hanks to anchor the action, the trilogy masters the mission of entertainment. Just like the novels, the films offer fictional tourism for its viewers who may otherwise not have the chance to visit. The films flip cryptic historical stories, secret societies, and anagrams into a pulse-pounding play-along puzzle. Where else do you have the opportunity to gain genuine academic trivia about architecture, history, and literature? The three films feature Hanks bringing instant intellect, empathy, and charm to carry Brown’s tales to victory. And if you’re eager for high-profile stars along for the adventure, expect to see the likes of Ian McKellen, Ewan McGregor, and Felicity Jones, among others. While the Robert Langdon Trilogy may not be Indiana Jones or even National Treasure, they’re just a step below.
5
The ‘Taken’ Trilogy
Every great actor needs a career revitalization. For Liam Neeson, that came thanks to the unlikely hit-turned-pop culture obsession: Taken. Created by Luc Besson and screenwriter Robert Mark Kamen, the film series redefined Neeson as a late-career action star, catapulting him to new heights. In Taken, directed by Pierre Morel, retired CIA operative Bryan Mills (Neeson) races against a 96-hour clock in Paris to rescue his teenage daughter, Kim (Maggie Grace), after she is kidnapped by human traffickers. In Taken 2, directed by Olivier Megaton, Mills and his ex-wife, Lennie (Famke Janssen), are taken hostage while in Istanbul by Murad Hoxha (Rade Šerbedžija), the father of a kidnapper killed in the previous film, forcing Kim to help free them. Finally, in Taken 3, also directed by Megaton, Mills is framed for his ex-wife’s murder and must evade the pursuit of a relentless police inspector, Frank Dotzler (Forest Whitaker), while tracking down the real killers. A guilty pleasure phenomenon, Neeson and his “particular set of skills” became lean, mean, fast-paced 21st century action classics.
Though the first film is an exception, laying the groundwork for the franchise and other men of a certain age action genre, the reason the trilogy as a whole drops to near-perfect status is the steady decline following the original. That said, Taken and its sequels do exactly what the film franchise is meant to do. Never do they stray away from its main concept, borrowing what works from the original aand tweaking it along the way. The moment Neeson got on the phone and delivered, “I will look for you, I will find you, and I will kill you,” a pop culture touchstone was born. The film delivered in no-nonsense, high-octane action without an overcomplicated plot. Though the intensity was dropped to a PG-13 rating in the subsequent films, the DNA remained the same. If you were taken by Taken, watching the trilogy is a must-do. You’ll even be intrigued by the two-season run of the TV series. Be warned, no Neeson to be found there.
4
The Mexico Trilogy
Thanks to Robert Rodriguez, the contemporary Mexican/American neo-Western was revitalized through the Mexico Trilogy. Also referred to as the Desperado Trilogy or the Mariachi Trilogy, Rodriguez brings viewers along the ongoing bloody and musical exploits of a wandering, gun-toting musician known as El Mariachi. The trilogy began with the ultra-low budget El Mariachi, where the titular character, played by Carlos Gallardo, is a traveling musician mistaken for a vicious criminal, Azul (Reinol Martínez), in a small Mexican border town. Now with a bigger Hollywood budget, Desperado serves as a reimagining and sequel in which El Mariachi, now played by Antonio Banderas, seeks revenge against drug lord, Bucho (Joaquim de Almeida), who shot his lover. He is aided by a local woman named Carolina (Salma Hayek) on his quest. Rounding out the films, Once Upon a Time in Mexico, El Mariachi is thrust into a sprawling, high-stakes political coup involving a corrupt general, Emiliano Marquez (Gerardo Vigil), who killed his wife, and a rogue CIA agent, Sheldon Sands (Johnny Depp).
Armed with a guitar case packed with heavy artillery and automatic firearms, The Mexico Trilogy launched El Mariachi to epic levels of Western heroism. Rodriguez keeps a common theme where El Mariachi loses his romantic interests or loved ones to escalating cartel violence, which drives his lonely path of vengeance and retribution. Rodriguez’s signature style blended Hollywood ideals with a distinct blend of fast-paced energy, dark humor, and a sublime Tex-Mex vibrancy. The films are an integral part of cinema history as the first film represented a genuine DIY approach to filmmaking. Rodriguez proved he could make a stellar indie flick with panache and maintain that gritty integrity when the budget ballooned. Desperado is certainly an upgrade that turns the kinetic energy of the first film into a hyper-stylized and super cool action thriller. By Once Upon a Time in Mexico, Rodriguez and his star-studded cast let loose in a playground of fun for an over-the-top adventure. The films will forever be celebrated by marrying Mexican folklore with Spaghetti Western tropes without pretension.
3
Hannibal Lecter Trilogy
It’s often the heroes who earn long-running franchises. But when you’re Anthony Hopkins and you craft one of the greatest villains of all time, Hannibal Lecter, it’s inevitable that your terrifying face extends beyond the original film. Based on the eponymous brilliant, cannibalistic serial killer created by Thomas Harris, the three Hopkins-led films haunted our waking dreams. Though the character does appear in 1981’s Manhunter and 2007’s Hannibal Rising, for this entry, we will focus on the subsequent projects with Hopkins. In the Big Five-winning The Silence of the Lambs, directed by Jonathan Demme, FBI trainee Claire Starling (Jodie Foster) consults with the imprisoned Lecter to catch another active serial killer, Buffalo Bill (Ted Levine), before it’s too late. Ten years later, Ridley Scott directed Hannibal, where a wealthy survivor, Mason Verger (Gary Oldman), uses Clarice (Julianne Moore) to plot vengeance against a free Lecter living in Florence. Finally, Red Dragon, directed by Brett Ratner, serves as a prequel where retired FBI profiler Will Graham (Edward Norton) asks Lecter for help in tracking down the “Tooth Fairy” killer, Francis Dolarhyde (Ralph Fiennes).
No matter who is sitting in the director’s chair, the three films are examples of masterclass tension and rare psychological depth in the horror realm, all centered around a brilliant and iconic central character. The three films served as an important blueprint in elevating high-stakes crime thrillers into sensational high art. While Red Dragon and Hannibal didn’t match the sheer brilliance Demme captured in The Silence of the Lambs, they did continue to pique our fascination with the cold-blooded killer mastermind. Hopkins defined the chilling archetype of a terrifying villainous intellect. The slow-burning psychological chess matches served as a brilliant canvas for atmospheric tension. The narratives blur the lines between the monsters and the individuals who set out to hunt them. They introduce a wealth of emotional stakes that other horror thrillers tend to lack. The Hannibal Lecter Trilogy is not for the faint of heart. If you’re squeamish, steer clear!
h
2
Hercule Poirot Trilogy
There are many iconic detectives, but none are as brilliant as Agatha Christie‘s creation, Hercule Poirot. The incredible Belgian sleuth had been the source of many Christie stories, as well as many film adaptations, but the character truly came to life thanks to Kenneth Branagh‘s star-studded modern film adaptations of the detective tales. Pulling double duty as director and star, Branaugh kicked off the adventure with the iconic Murder on the Orient Express. The mystery follows Poirot as he investigates a stabbing aboard a snowbound luxury train filled with a plethora of mysterious passengers. The action shifts to Egypt in Death on the Nile as Poirot seeks to find the culprit when a glamorous river cruise turns deadly when a wealthy heiress, Linnet Ridgeway-Doyle (Gal Gadot), is murdered. Finally, Poirot heads to Italy for A Haunting in Venice, in which a reluctant retired Poirot attends a Halloween seance in a spooky palazzo where another guest dies. As three large-scale mystery masterpieces, the Hercule Poirot Trilogy marries the camp of the Christie character with the vast visuals that reinvigorated the classic detective genre.
The Branagh-directed trilogy is filled to the brim with lavish set pieces that immerse the viewers into the mystery alongside Poirot. Each film captures a richly distinct locale and aesthetic. From the snowy, isolated exterior that traps a glorious train to the sun-drenched waters of the Nile and the moody, gothic Venetian palazzo, each location serves as its own indirect character. They help shape the characters of the story and serve as a perfect backdrop for the mysterious thrills of each death. Branagh uses classic filming techniques to honor the past while bringing the films to the present. What makes the films work as a three-piece and not just three standalone films is that Branagh ensures the right amount of character growth and evolution from its central sleuth. From his growing loneliness, his crisis of faith, and how human cruelty sees morality and sanity, Poirot becomes more than an eccentric detective with an iconic mustache. If there is ever a reason to watch the films, it comes from the cavalcade of stars, including Penelope Cruz, Judi Dench, and Michelle Pfeiffer in Murder on the Orient Express, Annette Bening, Dawn French, and Jennifer Saunders in Death on the Nile, and Tina Fey, Jude Hiil, and Michelle Yeoh in A Haunting in Venice. While there is still potential for the Hercule Poirot franchise to expand, these three are reasons why audiences are drawn to classical murder mysteries.
1
Original ‘Mad Max’ Trilogy
Before we saw what perfection could look like, George Miller and Byron Kennedy launched a ’80s-tinged post-apocalyptic and dystopian trilogy known as Mad Max. Starring Mel Gibson, Mad Max depicts a societal collapse caused by resource shortages. Max Rockatansky (Gibson) is a highway patrol cop who goes on a vengeance streak after a violent motorcycle gang murdered his family. In Mad Max 2: The Road Warrior, a hardened Max roams the wasteland as he helps a small, isolated oil-refining community defend themselves against a brutal marauding gang. Finally, Mad Max Beyond Thunderdome sees Max wander into the corrupt trading post of Bartertown, get exiled, and assist a tribe of lost children in a battle against the local ruler, Aunt Entity (Tina Turner). Establishing an iconic aesthetic, Mad Max may be responsible for laying the foundation for all post-apocalyptic action thrillers that followed.
While it’s hard to compare the first film to the two most recent iterations, what the original trilogy proves is that an organic evolution from raw, low-budget revenge flick can emerge into a mythic lore-filled juggernaut of a franchise. Miller does a sensational job at making the setting distinctly its own. There had been nothing like it before, so Mad Max set the tone for what a desert-set dystopia should feel like. And it was a living nightmare it was. The three film rely heavily on motion and cinematic language to explore its narrative. These films are not littered with exposition of world-building dialogue. Instead, they allow a show-and-tell visual vocabulary to do the trick. Max is the ultimate vengeful hero who goes from grieving man into a universal lone hero whose mission is to improve the lives of others—even risking his own life to do so. The Mad Max trilogy is considered perfect by many, but in comparing them to Mad Max: Fury Road, they simply cannot compare. That said, they’re the best of the almost-best!
Mad Max
- Release Date
-
April 12, 1979
- Runtime
-
91 minutes
- Director
-
George Miller
- Writers
-
James McCausland, George Miller
-
Joanne Samuel
Jessie Rockatansky
-
