Dyah (pronounced Dee-yah) is a Senior Author at Collider, responsible for both writing and transcription duties. She joined the website in 2022 as a Resource Writer before stepping into her current role in April 2023. As a Senior Author, she writes Features and Lists covering TV, music, and movies, making her a true Jill of all trades. In addition to her writing, Dyah also serves as an interview transcriber, primarily for events such as **San Diego Comic-Con, **the Toronto International Film Festival, and the Sundance Film Festival.
Dyah graduated from Satya Wacana Christian University in October 2019 with a Bachelor’s degree in English Literature, concentrating on Creative Writing. She is currently completing her Master’s degree in English Literature Studies, with a thesis on intersectionality in postcolonial-feminist studies in Asian literary works, and is expected to graduate in 2026.
Born and raised between Indonesia and Singapore, Dyah is no stranger to different cultures. She now resides in the small town of Kendal with her husband and four cats, where she spends her free time cooking or cycling.
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Netflix takes pride in its roster of thrillers. From the post-apocalyptic Bird Box and the TSA anxiety of ***Carry-On ***to the hit crime action Rebel Ridge, the streamer has a knack for reimagining all kinds of scenarios—from the ordinary to the highly specific—and showing the many ways they can spiral out of control. Whether it’s a case of jealousy gone wrong or a classic detective mystery with a motive for everyone, these thrillers deliver much-needed suspense.
With tightly written scripts that leave little room for wasted moments and cinematography designed to make viewers feel as uneasy as the conflict itself, Netflix’s thrillers know how to keep audiences on edge. While the platform’s biggest hits have had their time in the spotlight, its underrated films deserve just as much recognition. In honor of those overlooked gems, here are forgotten Netflix thriller movies that are perfect from start to finish.
All’s fair in love and war. Fair Play follows freshly engaged Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich), who look like the perfect pair. But when a promotion gets in their way, it’s a corporate battle from here on out. When Emily receives the coveted role instead of Luke, their once-supportive romance descends into a workplace rivalry gone wrong. From sarcastic, passive-aggressive remarks to a full-blown case of abuse, Fair Play exposes how fragile men can be at the sight of a woman’s success.
With Chloe Domont’s relentlessly paced script, *Fair Play *continually ups the ante as Luke’s mounting anxiety spirals out of control. Despite Emily clearly being the more talented of the two, jealousy brings out the worst in Luke, pushing him to sabotage her success. It’s a biting commentary on how toxic ambition, particularly from a male perspective, can destroy another person — especially when that person is the one you love. The scary part is that Emily’s experience as a woman, where gender microaggressions are still present in corporate, is not far from fiction.
Reptile follows Detective Tom Nichols (Benicio del Toro) as he investigates the brutal murder of real estate agent Summer Elswick (Matilda Lutz). Together with his partner Dan Cleary (Ato Essandoh), the two ask around those closest to the victim. Their suspects include boyfriend Will Grady (Justin Timberlake), estranged husband Sam Gifford (Karl Glusman), and local troublemaker Eli Phillips (Michael Carmen Pitt). While the evidence seems to point toward an obvious culprit, Tom refuses to accept the easy answer.
Reptile keeps audiences questioning because all three suspects have evidence tying them to different crimes. Through a familiar crime thriller formula, supported by del Toro’s strongest performance since Sicario, Reptile requires audiences to notice the inconsistencies. Just because someone is guilty doesn’t necessarily mean they’re the perpetrator behind the central crime. However, it does suggest that forces far bigger than del Toro’s detective are at play. What initially seems like a single case escalates into a wide corruption scheme, giving Reptile its man-versus-the-system edge.
Gritty, bloody, and stylish, The Killer is a nod to the sleek hitman genre. After** missing a high-profile sniper assassination in Paris**, a nameless contract killer returns to his hideout in the Dominican Republic only to find his girlfriend brutally attacked in retaliation. Abandoning his rule of never making a job personal, he ventures across the United States to find the person responsible, bringing him to the client he ordered the cleanup back in France.
The Killer shows another side of the hitman profession. Beneath all the traveling, Michael Fassbender’s detached voiceover reveals that the life of a contract killer is a lonely one, making the assault of his girlfriend even more personal. Because any sign of his true identity could expose him, he lives in constant isolation, whether he’s working from abandoned WeWork offices or relying on food delivery apps. There’s nothing glamorous about contract killing, especially when you’re too detached to reap the rewards.
His House follows Bol (Sope Dirisu) and Rial (Wunmi Mosaku), refugees fleeing the civil war in South Sudan, as they undertake a dangerous trip of survival to Britain. However, along the way, they lose the young girl they claimed as their daughter during the crossing. Granted temporary asylum, they are assigned a rundown house and warned that leaving could result in deportation. As they struggle with their new surroundings, the last thing they would expect is an apeth, a sinister night witch tied to their past.
Unlike your typical supernatural ghosts, His House presents another kind of demon — one born from survivor’s guilt, grief, and displacement. Amid the jump scares and heart-racing tension lies the heartbreaking reality of living with the consequences of the impossible choices Bol and Rial were forced to make to survive. As much as it is a haunted-house horror film, His House also explores the effects of racism, xenophobia, and the expectations placed on refugees.
Your instincts, your strengths, and your particular way of thinking under pressure point to one villain you actually have a fighting chance against. Everyone else — good luck.
Jason is relentless, but he is also predictable — and that is the gap you would exploit.
Michael watches before he moves. He is patient, methodical, and almost impossible to detect — until it’s too late for anyone who isn’t paying close enough attention.
Freddy wins by getting inside your head — using your own fears, your own memories, your own subconscious as weapons against you. That strategy requires a target who can be destabilised.
Pennywise is ancient, shapeshifting, and feeds on terror — but it has one critical vulnerability: it cannot function against someone who genuinely stops being afraid of it.
Chucky’s greatest advantage is that nobody takes him seriously until it’s already too late. He exploits the gap between how something looks and what it actually is.
Based on the crimes of the real-life serial killer, The Good Nurse shows how danger can lurk even within an institution that’s meant to save people from death. Amy Loughren (Jessica Chastain), a compassionate nurse and single mother, struggles to support her family while hiding a life-threatening heart condition. Thankfully, she receives the help she needs at work when the thoughtful Charles Cullen (Eddie Redmayne) joins her shift as a fellow nurse. But beneath his warm smile, Amy begins to feel that something’s off about him.
It’s tough to play a character who is both disarmingly kind and deeply sinister, yet Redmayne nails the balance. At the beginning of The Good Nurse, Amy and Charlie share a sincere, trusting friendship as they bond over the exhaustion of working night shifts in the ICU, making it all the more heartbreaking when Amy discovers Charles’ true nature. While the film ultimately points to larger forces at fault for allowing Charlie to remain in the hospital’s hallways, it grounds the story in a heartfelt connection that goes sideways.
In The Platform, Goreng (Iván Massagué) voluntarily enters The Hole,** **a mysterious vertical prison, hoping to earn an accredited diploma after serving six months. Inside, he discovers a brutal system where two inmates occupy each level, and a descending platform delivers food from the top down, leaving those on lower floors to starve. Every month, prisoners awaken on a different level, forcing them to experience privilege and deprivation alike — the latter spiraling into cannibalism, violence, and the collapse of morality.
Even in this dystopian prison, the unjust system persists. It’s a high-concept sci-fi thriller at its best, but The Platform is ultimately a powerful social allegory about wealth inequality, greed, and the darker side of human nature. Every monthly floor change brings new twists, forcing viewers to ask whether they would share their food or consume everything out of fear of ending up on a lower level. The slightest chance of survival pushes these inhabitants to consider the moral limits they are willing to cross.
No place makes a better backdrop for a thriller than the remote wilderness of Alaska. ***Hold the Dark ***is set in the aftermath of the disappearance of three children believed to have been killed by wolves. Retired naturalist and wolf expert Russell Core (Jeffrey Wright) is summoned by grieving mother Medora (Riley Keough) to track down her missing six-year-old son. As Core digs deeper into the case, he realizes that Medora’s account may not be entirely truthful.
*Hold the Dark *is a prime example of how the brutality of nature and the darkness of the human mind are deeply intertwined. Despite its icy setting, Hold the Dark has the gritty appeal of a Western, with Russell battling not only a supposed killer but also the unforgiving glacial wilderness. In the isolation of remote Alaska, people are free to commit horrific acts with little fear of consequences, leaving Russell with no one nearby to rely on.
After the deaths of three children suspected to be killed by wolves, writer Russell Core is hired by the mother of a missing six-year-old boy to track down and locate her son in the Alaskan wilderness.
