{"id":572495,"date":"2026-08-02T23:57:16","date_gmt":"2026-08-02T23:57:16","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/572495\/"},"modified":"2026-08-02T23:57:16","modified_gmt":"2026-08-02T23:57:16","slug":"10-r-rated-thriller-movies-that-can-be-called-masterpieces","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/572495\/","title":{"rendered":"10 R-Rated Thriller Movies That Can Be Called Masterpieces"},"content":{"rendered":"

Thrillers often promise control<\/a> but only few do it perfectly. There is a killer to catch, a conspiracy to expose, or one dangerous person who can supposedly be stopped before the damage spreads. It’s hard to pull off right. And when pulled off right, you have no choice but to call it a masterpiece.<\/p>\n

The movies here understand how quickly and how often that confidence falls apart. Innocent people get pulled into systems they barely understand, professionals discover that experience cannot protect them, and violence changes everyone who gets close enough to see it clearly. And if all that isn\u2019t filmed or timed well, the whole system breaks. The 10 movies on this list are amazing for nailing those particular angles and the R rating<\/a> allows these films to follow their ideas without cleaning them up for comfort.<\/p>\n

10 <\/p>\n

‘Collateral’ (2004)<\/p>\n

\"Jamie
\n Jamie Foxx as Max Durocher driving the Taxi in CollateralImage via DreamWorks Pictures<\/p>\n

Collateral takes one Los Angeles cab driver and traps him inside a professional killer\u2019s schedule. Max Durocher (Jamie Foxx<\/a>) has spent years talking about opening his own limousine company while driving the same night shift and postponing every real step toward it. Vincent (Tom Cruise<\/a>) gets into his taxi, offers him hundreds of dollars for several stops, and soon reveals that each address belongs to someone he has been hired to kill. Max is suddenly driving a murderer across the city while police officers follow a trail they cannot yet connect to him.<\/p>\n

The film understands how terrifying competence can be. Vincent kills without hesitation, adapts whenever a plan changes, and speaks about human life as if he\u2019s casually discussing traffic. Max begins the night avoiding conflict and ends up making choices under pressure that he has delayed making in ordinary life. Both Max and Vincent create a tense imbalance where control keeps changing hands without ever feeling secure. Even Los Angeles looks unfamiliar after midnight, full of empty trains, fluorescent offices, crowded clubs, and strangers who never realise how close death passed beside them.<\/p>\n

9 <\/p>\n

‘A History of Violence’ (2005)<\/p>\n

\"Viggo
\n Image via New Line Cinema<\/p>\n

A History of Violence<\/a> begins with Tom Stall (Viggo Mortensen<\/a>) living a quiet life in Indiana with his wife Edie Stall (Maria Bello) and their two children. When two armed criminals threaten his diner, Tom kills them with shocking speed and becomes a national hero. The attention brings Carl Fogarty (Ed Harris<\/a>) to town, a scarred gangster who insists that Tom is really Joey Cusack, a violent man connected to the Philadelphia mob. Tom denies everything, but his family starts noticing how naturally violence comes to him.<\/p>\n

David Cronenberg adapted John Wagner and Vince Locke\u2019s graphic novel into a thriller that keeps asking whether a person can leave an old identity behind or merely hide it under better habits. Tom\u2019s actions protect his family, yet every burst of violence exposes another piece of a life they never consented to share. The sex between Tom and Edie also changes once the truth starts emerging, moving from playful intimacy to anger, fear, and damaged attraction. The quiet dinner near the end says more than another confrontation could. Tom returns home, and nobody at that table knows whether the man sitting down belongs there anymore.<\/p>\n

8 <\/p>\n

‘The Girl with the Dragon Tattoo’ (2011)<\/p>\n

\"Daniel
\n Daniel Craig in The Girl with the Dragon Tattoo.Image via Sony Pictures Releasing<\/p>\n

Few modern studio thrillers are as cold, detailed, and openly hostile as The Girl with the Dragon Tattoo<\/a>. Disgraced journalist Mikael Blomkvist (Daniel Craig<\/a>) is hired by wealthy industrialist Henrik Vanger (Christopher Plummer<\/a>) to investigate the disappearance of his niece Harriet Vanger, who vanished from a family gathering forty years earlier. The case leads Mikael through photographs, biblical references, business records, and decades of violence hidden behind one of Sweden\u2019s most powerful families. Lisbeth Salander (Rooney Mara<\/a>) joins the investigation after initially being hired to examine Mikael himself.<\/p>\n

Lisbeth is brilliant with computers and almost impossible to intimidate, but the film never treats her trauma as stylish character decoration. Her guardian abuses the legal power he has over her, and her response is planned with the same precision she later brings to the Vanger case. Rooney Mara\u2019s physical transformation drew attention, though the anger, isolation, and guarded loyalty underneath the appearance stay far more compelling. Mikael and Lisbeth solve the central mystery through different skills and slowly develop trust without becoming a conventional detective couple. Her last attempt to reach toward him hurts precisely because it is so small. She buys the gift, sees him with Erika Berger (Robin Wright), and quietly turns away.<\/p>\n

7 <\/p>\n

‘Sicario’ (2015)<\/p>\n

\"Emily
\n Emily Blunt as Kate pointing a gun in Sicario.Image via Lionsgate<\/p>\n

Sicario<\/a> follows FBI agent Kate Macer (Emily Blunt<\/a>) after a raid in Arizona uncovers dozens of bodies hidden inside a house controlled by a Mexican cartel. Her record on kidnapping cases earns her a place on a federal task force led by Matt Graver (Josh Brolin<\/a>), though nobody gives her a clear explanation of its real purpose. The operation takes her across the border into Ju\u00e1rez, through a terrifying traffic jam, and deeper into a campaign where legal authority has become almost impossible to separate from revenge.<\/p>\n

Kate believes rules can keep violence from becoming corruption. Graver sees rules as obstacles, while Alejandro Gillick (Benicio del Toro) carries a personal mission that the government has decided to use. The border convoy establishes that imbalance immediately. Armed men surround the vehicles, civilians are trapped nearby, and Kate has seconds to understand a threat everyone else recognised earlier. Emily Blunt\u2019s character remains capable throughout, but capability offers little protection in an operation designed to keep her uninformed. Kate signs the document at gunpoint, and Alejandro advises her to find a quieter town where the law still resembles what she believes it should be.<\/p>\n

6 <\/p>\n

‘Heat’ (1995)<\/p>\n

\"Al
\n Al Pacino wearing a badge and wielding a gun as Vincent in HeatImage via Warner Bros. Pictures<\/p>\n

Heat<\/a> is often reduced to the historic pairing of Al Pacino<\/a> and Robert De Niro<\/a>, even though the movie contains an entire city of people being damaged by the same obsession. Neil McCauley (Robert De Niro) leads a disciplined robbery crew and refuses to keep anything he cannot abandon within thirty seconds. Lieutenant Vincent Hanna (Al Pacino) lives with similar intensity on the other side of the law. Both understand their professions better than they understand ordinary relationships, and neither is willing to step away while there is still another move available.<\/p>\n

The coffee-shop conversation earns its reputation through honesty rather than grandstanding. Neil and Hanna recognise each other immediately, share the private cost of their lives, and accept that one will still kill the other if the situation demands it. Around them, Chris Shiherlis (Val Kilmer<\/a>) loses Charlene Shiherlis (Ashley Judd), Michael Cheritto (Tom Sizemore) risks everything for another score, and Donald Breedan (Dennis Haysbert) takes one desperate chance to escape a humiliating job. The director, Michael Mann, reportedly spent years researching police work and professional criminals, which shows in the surveillance, weapon handling, and downtown shootout. Yet the emotional core stays painfully simple. These men can read danger across a street and still fail to understand the people waiting at home.<\/p>\n

5 <\/p>\n

‘L.A. Confidential’ (1997)<\/p>\n

\"Russell
\n Russell Crowe as Officer Wendell “Bud” White in a suit and tie looking serious in L.A. Confidential.Image via Warner Bros.<\/p>\n

Los Angeles in 1953 sells sunshine, movie stars, and clean police work to the public while corruption spreads behind the photographs. Three officers approach that world from completely different directions. Bud White (Russell Crowe<\/a>) protects abused women and solves problems with force. Ed Exley (Guy Pearce<\/a>) believes procedure and ambition can take him to the top. Jack Vincennes (Kevin Spacey<\/a>) enjoys celebrity, television consulting, and selling arrests to a gossip magazine. A massacre at the Nite Owl coffee shop pulls all three toward the same conspiracy.<\/p>\n

The screenplay condenses James Ellroy\u2019s enormous novel without losing the sense that every institution has learned how to manage appearances. Police officers stage evidence, politicians protect vice operations, and tabloid publisher Sid Hudgens (Danny DeVito) turns private misery into entertainment. Lynn Bracken (Kim Basinger) also understands the city\u2019s obsession with imitation. She is paid to resemble Veronica Lake while longing to be treated as herself. The investigation forces Bud, Ed, and Jack to confront the compromises each has normalised. Jack\u2019s whispered final clue, \u201cRollo Tomasi,\u201d becomes a trap for the man who thought he had erased every loose end. Justice survives, though Los Angeles immediately begins preparing the next version of the story.<\/p>\n

4 <\/p>\n

‘The Departed’ (2006)<\/p>\n

\"Leonardo
\n Undercover cop Billy Costigan (Leonardo DiCaprio) disguises himself with a cap as he peeks around the corner of a brick wall in ‘The Departed’ (2006).Image via Warner Bros. Pictures<\/p>\n

Two informants spend The Departed<\/a> trying to identify each other while serving opposite sides of Boston\u2019s criminal world. Billy Costigan (Leonardo DiCaprio<\/a>) enters Frank Costello (Jack Nicholson<\/a>)\u2019s organisation under police orders and slowly loses any stable life outside the assignment. Colin Sullivan (Matt Damon<\/a>) joins the state police after being raised and protected by Costello, feeding him information while building the public image of a successful officer. Both men live through phones, coded messages, staged conversations, and the constant fear that one mistake will expose everything.<\/p>\n

Martin Scorsese\u2019s crime thriller draws from the Hong Kong film Infernal Affairs, then fills the story with Boston identity, Catholic guilt, family history, and institutional rot. Billy is officially working for justice, but his handlers leave him psychologically stranded. Colin has status, a home, and a relationship with Madolyn Madden (Vera Farmiga), yet his entire identity depends on service to a man he increasingly despises. The elevator deaths still hit with savage speed since the movie refuses to reward anyone for surviving longer than expected. Colin briefly believes he has escaped. Then Dignam (Mark Wahlberg) appears in his apartment, and the silence says exactly how much faith the film has left in official justice.<\/p>\n

Collider Exclusive \u00b7 Oscar Best Picture Quiz
\n Which Oscar Best Picture
Is Your Perfect Movie?
\n Parasite \u00b7 Everything Everywhere \u00b7 Oppenheimer \u00b7 Birdman \u00b7 No Country<\/p>\n

Five Oscar Best Picture winners. Five completely different visions of what cinema can be \u2014 and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.<\/p>\n

\ud83e\ude9cParasite<\/p>\n

\ud83c\udf00Everything Everywhere<\/p>\n

\u2622\ufe0fOppenheimer<\/p>\n

\ud83d\udc26Birdman<\/p>\n

\ud83e\ude99No Country for Old Men<\/p>\n

\n FIND YOUR FILM \u2192\n <\/p>\n

01<\/p>\n

What kind of film experience do you actually want?
\n The best movies don’t just entertain \u2014 they leave something behind.<\/p>\n

\n ASomething that pulls the rug out \u2014 that makes me think I’m watching one kind of film and then reveals I’m watching another entirely.
\n BSomething overwhelming \u2014 funny, sad, absurd, and genuinely moving, all at once.
\n CSomething grand and weighty \u2014 a film that makes me feel the full scale of what I’m watching.
\n DSomething formally daring \u2014 a film that pushes what cinema can even do.
\n ESomething lean and relentless \u2014 pure tension with no wasted frame.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

02<\/p>\n

Which idea grabs you most in a film?
\n Great films are driven by a central obsession. What’s yours?<\/p>\n

\n AClass, inequality, and what people are willing to do when desperation meets opportunity.
\n BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart.
\n CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back.
\n DEgo, legacy, and the terror of becoming irrelevant while you’re still alive to watch it happen.
\n EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

03<\/p>\n

How do you like your story told?
\n Form is content. The way a story is shaped changes what it means.<\/p>\n

\n AGenre-twisting \u2014 I want it to start in one lane and migrate into something completely different.
\n BMaximalist and genre-blending \u2014 comedy, action, drama, sci-fi, all in one ride.
\n CEpic and non-linear \u2014 cutting between timelines, building a mosaic of cause and consequence.
\n DA single unbroken flow \u2014 I want to feel like I’m living it in real time, no cuts to safety.
\n ESpare and precise \u2014 every scene doing exactly what it needs to do and nothing more.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

04<\/p>\n

What makes a truly great antagonist?
\n The opposition defines the protagonist. What kind of opposition fascinates you?<\/p>\n

\n AA system \u2014 invisible, structural, and almost impossible to fight because it has no single face.
\n BThe self \u2014 the ways we sabotage, abandon, and fail the people we love most.
\n CHistory \u2014 the unstoppable momentum of events that no single person can stop or redirect.
\n DThe industry \u2014 the machinery of culture that chews up talent and spits out irrelevance.
\n EPure, implacable evil \u2014 a force so certain of itself it becomes almost philosophical.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

05<\/p>\n

What do you want from a film’s ending?
\n The final note is the one that lingers. What do you want it to sound like?<\/p>\n

\n AShock and inevitability \u2014 a conclusion that recontextualises everything that came before it.
\n BEarned emotion \u2014 I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess.
\n CDevastation and grandeur \u2014 an ending that makes me sit in silence for a few minutes after.
\n DAmbiguity \u2014 something that leaves enough open that I’m still thinking about it days later.
\n EBleakness \u2014 an honest refusal to pretend the world is tidier than it actually is.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

06<\/p>\n

Which setting pulls you in most?
\n Where a film takes place shapes everything \u2014 mood, stakes, what’s even possible.<\/p>\n

\n AA gleaming modern city with a hidden underside \u2014 beauty masking rot, wealth masking desperation.
\n BA collapsing suburban life that opens onto something infinite \u2014 the multiverse of a single ordinary person.
\n CThe corridors of power and science at a world-historical turning point \u2014 where decisions echo for decades.
\n DThe grimy, alive chaos of New York and Hollywood \u2014 fame as both destination and trap.
\n EVast, indifferent landscape \u2014 desert and highway where violence arrives without warning or reason.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

07<\/p>\n

What cinematic craft impresses you most?
\n Every great film has a signature \u2014 a technical or artistic element that makes it unmistakable.<\/p>\n

\n AProduction design and mise-en-sc\u00e8ne \u2014 every frame composed to carry meaning beneath the surface.
\n BEditing and tonal control \u2014 the ability to move between registers without losing the audience.
\n CScore and sound design \u2014 music that becomes inseparable from the dread and awe of what you’re watching.
\n DCinematography as performance \u2014 the camera not recording events but participating in them.
\n ESilence and restraint \u2014 what’s left unsaid and unshown doing more work than any dialogue could.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

08<\/p>\n

What kind of main character do you root for?
\n The protagonist is the lens. Who you choose to follow says something about you.<\/p>\n

\n ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure.
\n BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary.
\n CA brilliant, tortured figure whose gifts and flaws are inseparable from each other.
\n DA self-destructive artist whose ego is both their superpower and their undoing.
\n EA quiet, principled person trying to make sense of a world that has stopped making sense.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

09<\/p>\n

How do you feel about a film that takes its time?
\n Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.<\/p>\n

\n AI love a slow build when I know the payoff is going to be seismic \u2014 patience for a devastating reveal.
\n BGive me relentless momentum \u2014 I want to feel breathless and emotionally spent by the end.
\n CEpic runtime doesn’t scare me \u2014 if the material demands three hours, give me three hours.
\n DI want it to feel propulsive even when nothing is technically happening \u2014 restless energy throughout.
\n EDeliberate and unhurried \u2014 I want dread to accumulate in the spaces between the action.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

10<\/p>\n

What do you want to feel walking out of the cinema?
\n The best films leave a mark. What kind of mark do you want?<\/p>\n

\n AUnsettled \u2014 like I’ve just seen something I can’t fully explain but can’t stop thinking about.
\n BMoved and energised \u2014 like the film reminded me what actually matters and gave me something to hold onto.
\n CHumbled \u2014 like I’ve been in the presence of something genuinely important and overwhelming.
\n DExhilarated \u2014 like I’ve just seen cinema doing something it’s never quite done before.
\n EHaunted \u2014 like a cold, quiet dread that stays with me for days.\n <\/p>\n

REVEAL MY FILM \u2192<\/p>\n

The Academy Has Decided
\n Your Perfect Film Is\u2026<\/p>\n

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.<\/p>\n

Parasite<\/p>\n

You are drawn to films that operate on multiple levels simultaneously \u2014 that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that \u2014 a film that rewards close attention and punishes assumptions, right up to its devastating final image.<\/p>\n

Everything Everywhere All at Once<\/p>\n

You want it all \u2014 and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point \u2014 because the feeling of being crushed by infinite possibility is exactly what it’s about.<\/p>\n

Oppenheimer<\/p>\n

You are drawn to cinema on a grand scale \u2014 films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important \u2014 to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.<\/p>\n

Birdman<\/p>\n

You are drawn to films that foreground their own construction \u2014 that make the how of the filmmaking part of the what it’s about. Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else \u2014 a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.<\/p>\n

No Country for Old Men<\/p>\n

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil \u2014 implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.<\/p>\n

\n \u21bb RETAKE THE QUIZ\n <\/p>\n

3 <\/p>\n

‘Zodiac’ (2007)<\/p>\n

\"Robert
\n Robert Graysmith (Jake Gyllenhaal) hunchesover his desk while Paul Avery (Robert Downey Jr.) loiters casually behind him in ‘Zodiac’ (2007).Image via Paramount Pictures<\/p>\n

Zodiac<\/a> is about the people who spend years trying to solve a case that refuses to give them the closure they need. The Zodiac killer sends letters, ciphers, threats, and pieces of evidence to newspapers after attacking victims across Northern California. Cartoonist Robert Graysmith (Jake Gyllenhaal<\/a>) becomes consumed by the puzzle. Reporter Paul Avery (Robert Downey Jr.<\/a>) sees the case damage his career and health. Inspectors Dave Toschi (Mark Ruffalo<\/a>) and Bill Armstrong (Anthony Edwards) chase leads across jurisdictions while witnesses, handwriting samples, and suspect descriptions keep failing to form one complete answer.<\/p>\n

The fear comes from uncertainty rather than constant murder. The movie recreates the attacks with such controlled detail, then spends far more time on interviews, paperwork, phone calls, and the emotional cost of obsession. Graysmith\u2019s family watches him turn their home into an archive. Toschi\u2019s professional reputation suffers after years of public pressure. Avery retreats into alcohol as the story he once controlled begins controlling him. Zodiac offers a compelling suspect but refuses the relief of legal certainty. Real life never supplied it.<\/p>\n

2 <\/p>\n

‘Oldboy’ (2003)<\/p>\n

\"Yoo
\n Image via FilmDistrict<\/p>\n

Oldboy<\/a> begins with Oh Dae-su (Choi Min-sik<\/a>) being kidnapped and imprisoned in a private room for fifteen years without being told why. A television becomes his only connection to the outside world, where he learns that his wife has been murdered and that he has been framed for it. He trains, keeps track of time, and prepares for revenge. Then his captor suddenly releases him, hands him money and a phone, and gives him five days to discover the reason behind his punishment. This is interestingly developed from a Japanese manga.<\/p>\n

Park Chan-wook adapted the Japanese manga into a revenge tragedy where finding the truth becomes far worse than remaining ignorant. The hallway fight, side-scrolling construction, all of it creates an excellent mystery. Dae-su treats vengeance as a path back to dignity, while Lee Woo-jin (Yoo Ji-tae) has spent years designing an answer to an old humiliation. Every clue pushes Dae-su toward the exact emotional position his enemy wants. The punishment reaches beyond imprisonment and destroys his understanding of love, memory, and choice. Oldboy is a difficult recommendation and an unforgettable one. Go in knowing as little as possible, then try sleeping normally afterward.<\/p>\n

1 <\/p>\n

‘No Country for Old Men’ (2007)<\/p>\n

\"Josh
\n Josh Brolin as Llewelyn Moss in No Country for Old Men.Image via Miramax Films<\/p>\n

No Country for Old Men<\/a> follows Llewelyn Moss (Josh Brolin) after he discovers the remains of a drug deal in the Texas desert and takes a case containing two million dollars. He knows someone will come looking for it and prepares as carefully as he can. Anton Chigurh (Javier Bardem<\/a>) follows with a tracking device, a captive-bolt pistol, and a belief that chance can excuse whatever decision he has already made. Sheriff Ed Tom Bell (Tommy Lee Jones<\/a>) tries to understand the violence spreading across his county while sensing that his experience may no longer be enough.<\/p>\n

This is created by the Coen brothers and they remain remarkably faithful to Cormac McCarthy\u2019s novel here, including its refusal to shape the chase into a familiar showdown. Moss is resourceful, Chigurh is relentless, and Bell increasingly watches from the edge as events move past him. Carla Jean Moss (Kelly Macdonald) sees through that coin-toss performance and refuses to participate. Bell\u2019s closing dream, killings, his father riding ahead carrying fire into the darkness, and Bell waking before he can follow, all of it give No Country for Old Men an unmatched substance.<\/p>\n","protected":false},"excerpt":{"rendered":"Thrillers often promise control but only few do it perfectly. There is a killer to catch, a conspiracy…\n","protected":false},"author":2,"featured_media":572496,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[146,85,46,397],"class_list":["post-572495","post","type-post","status-publish","format-standard","has-post-thumbnail","category-movies","tag-entertainment","tag-il","tag-israel","tag-movies"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/572495","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/comments?post=572495"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/572495\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media\/572496"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media?parent=572495"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/categories?post=572495"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/tags?post=572495"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}