British Psychological Thriller Films

💎💎LE GRANDE BOUFFE💎💎- Four successful middle-aged men Marcello, a pilot; Michel, a television executive; Ugo, a chef; and Phillippe, a judge go to Phillippe’s villa to eat themselves to death. After the first night, Marcello insists that women should join them. Three prostitutes make it through a day or two; Andrea, a local schoolteacher, stays to the end. The villa, the food and a Bugati roadster are essential props. A group of men go to a villa in the French countryside where they resolve to eat themselves to death. Four middle-aged friends and members of the professional bourgeoise, Ugo, a Chef and restaurant owner, Marcello, an incorrigible womanizer and Alitalia pilot, Michel, a delicate television producer and Phillippe, a venerable magistrate, gather for a debaucherous weekend at the latter’s Parisian villa. There, as the four men prepare for a Romanesque feast, truckloads of fine food and wine arrive, accompanied by three elegant and lithe prostitutes. Without a doubt, the rapacious and degraded hedonists are determined to eat themselves to death, one elaborate morsel after another, nevertheless, for what reason? Four successful middle-aged men, Marcello, a pilot; Michel, a television executive; Ugo, a Chef; and Phillippe, a judge go to Phillippe’s villa to eat themselves to death. After the first night, Marcello insists that women should join them. Three prostitutes make it through a day or two; Andrea, a local schoolteacher, stays to the end. The villa, the food and a Bugati roadster are essential props.

The film tells the story of four friends who gather in a villa for the weekend, with the express purpose of eating themselves to death. Bouffer is French for “eating” (the Italian abbuffata means “great eating”). The first protagonist is Ugo, owner and Chef of a restaurant, “The Biscuit Shop”. The second is Phillippe, a somewhat important magistrate who still lives with his childhood nanny, Nicole, who is overprotective of him to the point of trying to prevent him from having relationships with other women and who fulfills her own sexual needs with him. The third character is Marcello, an Alitalia pilot and womanizer. The fourth and final main character is Michel, who is an effeminate television producer. The four come together by car to the beautifully furnished but unused villa owned by Phillippe. There they find the old caretaker, Hector, who has innocently prepared everything for the great feast and a Chinese visitor is there to offer a job to the magistrate in faraway China, which Phillippe politely rejects with the phrase “Timeo Danaos et dona ferentes” (“Beware of Greeks bearing gifts”) quoting Virgil. Once alone, the four begin their binge. In once scene, Marcello and Ugo race each other to see who can eat oysters faster. They discuss organizing a little “feminine presence” and decide to invite three prostitutes to come to the house the following evening (not four, because Phillippe does not want to participate). Their breakfast the next day is interrupted by the arrival of a school class who would like to visit the garden of the villa to see the famous “lime-tree of Boileau”, under which the French poet used to sit while looking for inspiration. The four willingly invite the class not only into the garden, but also to view the old Bugatti in the garage and to a magnificent lunch in the kitchen. Above all, they get to know Andrea, the young and buxom teacher, whom they spontaneously invite to dinner that evening. Phillippe is dismayed at the notion of the schoolteacher being in the same company as three prostitutes; he warns her, but she appears not to be perturbed. The prostitutes arrive in due course and the atmosphere becomes frivolous and sexually charged, with each of the men howling throughout the film when they are overjoyed. Andrea arrives and embraces the spirit of the party. She is attracted to Phillippe, who proposes to marry her.

The eating continues unabated. Ugo is responsible for the preparation of the food. Michel, who seems to have been brought up strictly not to break wind, suffering from indigestion. His friends encourage him to let out whatever wind is trapped. Frightened and disgusted by the turn of events, the prostitutes flee at dawn and leave only Andrea. She seems to sense the purpose of the protagonists and decides to help them in their efforts, establishing a tacit agreement and remaining with them until the death of all four. She indulges in sex with all the men after the departure of the prostitutes, while joining them in their in their binge as well,.

💎💎DRESSED TO KILL💎💎- Dressed to Kill is a 1980 American neo-noir slasher film written and directed by Brian De Palma and starring Michael Cain, Angie Dickinson, Nancy Allen and Keith Gordon. A New York housewife is brutally stabbed to death in an elevator and the film subsequently follows her psychiatrist, her teenage son and a prostitute who witnessed her murder. The original music score is composed by Pino Donaggio. The film contains several direct references to Alfred Hitchcock’s classic 1060 film Psycho, such as a man dressing as a woman to commit murders, the significant shower scenes in both films and the murder of the female lead very early in the picture. After wife and mother, Kate Miller discusses her sexual frustrations with her psychiatrist, she goes to meet her husband at a museum. At the museum, she meets a strange man who she follows to a cab and then has sex with him at his apartment. After the affair, Kate is brutally murdered in the elevator by a blonde woman with a razor. A blonde prostitute named Liz caught a brief glimpse of the killer, but when she comes forward with this information, she becomes the prime suspect to the police and the next victim to the murderer. Liz teams up with Kate’s son Peter to find the real killer.

A mysterious blonde woman kills one of a psychiatrist’s patients and then goes after the high-class call girl who witnessed the murder. While taking a shower, Kate Miller, a middle-aged, sexually frustrated New York City housewife, has a rape fantasy while her husband stands at the sink shaving. Later that day, after complaining to her psychiatrist Dr. Robert Elliott about her husband’s pathetic performance in bed, she meets a strange man at a museum and returns to his apartment where they continue an adulterous encounter that began in the taxicab. Before she leaves his apartment, she finds papers which certify that the man has a venereal disease. Panicked, Kate rushes into the elevator, but has to return to his apartment when she realizes she’s forgotten her wedding ring. When elevator doors open, she’s brutally slashed to death by a tall blonde woman wearing dark sunglasses. Liz Blake, a high-class call girl, is the only witness to the murder and she becomes the prime suspect and the murderer’s next target. Liz is rescued from being killed by Kate’s son Peter, who enlists the help of Liz to catch his mother’s killer as Detective Marino, who’s; in charge of the case, is uncooperative in the investigation.

Kate Miller is a sexually frustrated housewife who is in therapy with New York City psychiatrist Dr. Robert Elliott. During an appointment, Kate attempts to seduce him, but Elliott rejects her advances. Kate goes to the Metropolitan Museum of Art where she has an unexpected flirtation with a mysterious stranger, Kate and the stranger stalk each other through the museum until they finally wind up outside, where Kate joins him in a taxi. They begin to have sex and continue at his apartment. Hours later, Kate awakens and decides to discreetly leave while the man, Warren Lockman, is asleep. Kate sits at his desk to leave him a note and finds a document indicating that Warren has contracted a sexually transmitted disease. Mortified, she leaves the apartment, In her haste, she forgets her wedding ring on the nightstand and she returns to retrieve it The elevator doors open on the figure of a tall, blonde woman in dark sunglasses wielding a straight razor. Kate is violently stabbed to death in the elevator. A high-priced call girl, Liz Blake happens upon the body. She catches a glimpse of the killer in the elevator’s convex mirror and subsequently becomes both the prime suspect and the killer’s next target. Dr. Elliott receives a bizarre message on his answering machine from “Bobbi”, a transgender patient. Bobbi taunts the psychiatrist for breaking off their therapy sessions, apparently because Elliott refuses to sign the necessary papers for Bobbi to get sex reassignment surgery. Elliott tries to convince Dr. Levy, the patient’s new doctor, that Bobbi is a herself and others. Police Detective Marino (Dennis Franz) is skeptical about Liz’s story, partly because of her profession, so Liz joins forces with Kate’s revenge-minded son Peter (Keith Gordon) to find the killer. Peter, an inventor, uses a series of homemade listening devices and time-lapse cameras to track patients leaving Elliott’s office. They catch Bobbi on camera and soon Liz is being stalked by a tall blonde in sunglasses. Several attempts are subsequently made on Liz’s life. One, in the New York City Subway, is thwarted by Peter, who sprays Bobbi with homemade Mace.

Liz and Peter scheme to learn Bobbi’s birthname by getting inside Dr. Elliott’s office Liz baits the therapist by stripping to lingerie and coming on to him, distracting him long enough to make a brief exit and leaf through his appointment book. Peter is watching through the window when a blonde pulls him away. When Liz returns, a blonde with a razor confronts her; the blonde outside shoots and wounds the blonde inside, the wig falls off and it is Dr. Elliott, revealing that he is also Bobbi. The blonde who shot Bobbi is actually a female police officer, revealing herself to be the blonde who has been trailing Liz. Elliott is arrested and placed in an insane asylum. Dr. Levy explains later to Liz that Elliott wanted to be a woman, but his male side would not allow him to go through with the operation. Whenever a woman sexually aroused Elliott, Bobbi, representing the unstable, female side of the doctor’s personality, became threatened to the point that it finally became murderous. When Dr. Levy realized this through his last conversation with Elliott, he called the police on the spot, who then, with his help, did their duty. In a final sequence, Elliott escapes from the asylum and slashes Liz’s throat in a bloody act of vengeance. She wakes up screaming, Peter rushing to her side, realizing that it was just a nightmare (similar to the ending of Carrie).

Sensual images of a couple, a man and a woman, making love in the shower. He (Robbie L. McDermott) suddenly attacks her. Cut to a couple making love in bed. It looks like she was the woman who was remembering the shower scene. When he finishes, she doesn’t seem to be much satisfied. The radio is on. The woman is named Kate Miller (Angie Dickinson). She tells off her son Peter “Pete” Miller (Keith Gordon) because he doesn’t want to go to the museum with her: He prefers to stay home working on an improved computer which can count binary numbers up to 20 digits. It looks like Kate’s partner, Mike (Fred Weber) is not Pete’s father. Kate leaves home to see her psychiatrist, Doctor Robert Elliott (Michael Caine), who has to perform the duties of receptionist as Mary is on a holiday. Kate complains about the “surprise” visit of her mother from Florida due to her approaching birthday. She also complains about Mike’s “specialties” She is fed up with her husband and mother, but she doesn’t say anything to the right person. Elliott tells her not get angry with him but with Mike and tell him that he’s bad in bed. She questions Elliott whether he finds her attractive or not. He admits that he finds her attractive, but he also says that he’s married and doesn’t want to put his marriage in danger. Kate say she isn’t sure whether putting her own marriage with Mike at risk would be worthwhile,

Later, Kate is at the museum. A man sits next to her. She leaves a glove for him. They follow each other around the museum. She loses his sight, so she has an expression which says “obviously, he wasn’t serious about me,” but when she turns around he’s there staring at him. She seems to panic for a second and then is happy that he’s not there. But he appears again, on her back, touching her with her own glove. When she realizes she’s lost it, she tries to find it and then she realizes he’s got it. Music is innuendo while she tries to find him. When she leaves the museum, she sees his hand showing the glove from a yellow cab. She smiles and tells him politely, “thank you for retrieving my missing glove”, but he pulls her inside. They make love while the taxi driver (Sean O’Rinn) looks at them through the inside mirror. She has a noisy orgasm. They arrive to his destination, his apartment. She stays with him through the afternoon. When she is about to leave, she finds papers stating that he’s suffering from a sexually-transmitted disease and that she will have probably caught it. She leaves. When she is in the lift, she is so nervous that she caresses her hands one against the other. Then she realizes that she’s forgotten her wedding ring in the apartment of the man. She has to go to the flat again, but when she gets to the right floor, another blonde woman – probably using a wing – with dark sunglasses stabs her with a straight razor. Kate is left for dead, all bloodied. Another couple of people has called the lift: They are discussing the convenience of buying the shares of a particular company. He runs away, but Elizabeth “Liz” Blake (Nancy Allen) stares at him. When she looks inside the lift Kate is still alive. They try to reach out for each other’s hand, while the doors of the lift are slowly closing down. In the last second, Liz stares up and in the reflection of the mirror she sees the blonde-wigged woman who is about to cut her hand as well. She backs up. A cleaning lady (Amalie Collier) appears and she shouts when she looks at Liz with the razor menacingly held by her hand.

Dr. Elliott finds an answering machine message left by a man (William Finlay) saying that there’s a woman trying to get out of his body He’s worried, because the man has also committed to stealing a straight razor from the cabinet of his office. Detective Marino (Dennis Franz) questions Elliott, who gets very defensive but doesn’t mention the answer machine message. Meanwhile, Liz is waiting to be questioned as well and Pete is listening to the whole conversation. Marino mentions that the man, Warren Lockman (Ken Baker) was recognized by the taxi driver. Mike picks Pete up. Marino questions Liz about what she was doing in the building. She says she was with a married man. She is a prostitute. Marino suspects her: Nobody saw the blonde woman and her fingerprints are on the weapon. The man, Ted (Norman Evans), is from out of the city and Marino tells Liz that she is the only interested person in finding Ted. When Liz leaves, Pete is also stuck with a man he doesn’t love at all – his true father died during the “Nam war He tries to investigate the case as well. In his blue moped, he follows Liz all over the city. He arranges a camera to be hidden inside the box at the back of the bike. When he watches Liz, the mysterious man has phoned Dr. Elliott again. Threatening her. Liz tries to stay home, but she needs the money to invest in the company which Ted had recommended, so she asks for $500 to meet a client, Cleveland Sam (Brandon Maggartp in Room 331. She leaves a bit distraught. She jumps into a taxi but realizes that somebody is following her. She asks the young taxi driver (Bill Randolph) to lose the follower. The taxi driver wants to meet her for dinner. The taxi driver tries to help Liz: She opens the door of the taxi when the blonde lady is following Liz. Liz runs to the underground, but when she tries to leave another blonde transsexual or travesty scares her off. Liz approaches some black men (Robert Lee Rush, Anthony Boyd Scriven, Robert McDuffie and Frederik Sanders) who are listening to the radio, but one of them, called Sonny, threatens her as the train arrives.

Liz tells the police officer (Samm-Art Williams), who ends up thinking she is making it all up, because he can’t see any gang threatening to “cut her up” and Liz’s claims that a blonde is following her leave the officer even more convinced that she’s mad. At the next station, the police officer leaves. When the doors close, the gang appears again, just causing a nuisance to all passengers. Liz runs from them and closes one door behind. At that moment, the blonde woman puts a razor on her mouth and wants to slash her with another straight razor. Fortunately, Pete saves Liz using an anti-rape spray of his invention. Liz invites him over. Pete sleeps at Liz’s and she promises that she won’t tell anyone that he’s not studying French at his friend Paul’s. Liz tells him that she knows that the blonde woman left the doctor’s office, but she can’t explain who she knows it. As Marino can’t get a register order like that, he suggests to her to enter Dr. Elliott’s office and check the doctor’s agenda. Dr. Levy (David Margulies) tells Dr. Elliott that one of his patient’s Bobby/Bobbi (William Finlay) has stopped seeing him because he won’t approve of his sex change. Dr. Elliott tells Levy that Bobbi must be the murderer of the lady in the lift and they also comment on the missing razor. Later, Liz pretends to be a new patient of Dr. Elliott. She tells him about an erotic dream of hers, but also admits that she’s a prostitute, although she sometimes makes love to men for pleasure. She gets naked trying to seduce him. During all this time Pete is watching with some lens. Liz checks the address book of Dr. Elliott and she thinks that the name she’s looking for is Chris Clemens. Pete tries to tell her that the blonde woman is inside the office – he’s seen it – but a blonde woman has attacked him, so when he finally can cry out to Liz the blonde woman is already prepared to slash her with a straight razor.

At that moment the blonde woman who is holding Pete down shoots Bobbi. The wig falls off. The blonde woman is a wounded man. It’s Dr. Robert Elliott. Sometime later, Levy, Marino, Pete and Liz are setting down. Levy explains that Dr. Elliott had a double personality: He was the masculine doctor but he was also a patient who wanted to have a sex change performed and giving Bobbi as his name, he visited Dr. Levy. Levy says that Elliott represents Bobbi, but that when Bobbi decided to go for the sex change surgery, that pushed him to act. Levy said that every time that Dr. Elliott felt attracted to a woman her alter-ego killed that woman. That blonde woman who attacked Pete was police officer Betty Luke (Susanne Clemm), who was in charge of following Liz. Marino pushed her to enter Dr. Elliott’s address book because he didn’t have any proofs against him. Liz explains to Pete how a sex change operation takes place. He replies, sitting comfortably at a restaurant with her, he may change the subject of his investigation and use himself as the subject of that sex change, instead of investigating about computers. Meanwhile, back at a madhouse, a nurse (Anneka di Lorenzo) walks in to give Dr. Elliott the medicine he must take. He looks defenseless and sleepy, but he jumps and strangles her. All the loose madmen cheer. Pete invites Liz to sleep at his home, saying that his stepfather won’t mind. Naked in the shower, Liz feels some danger. Somebody dressed as a nurse approaches and she knows it. She doesn’t have anything to defend herself in the bathroom, except for something in the medicine cabinet. However, suddenly, the razor is at Liz’s neck. The same blonde woman cuts Liz’s neck. Terrified, Liz wakes up in a bedroom at Pete’s. He tries to calm her down. Fade to black.

💎💎 ALTAR💎💎- Altar (also known as The Haunting of Radcliffe House) is a 2014 British horror thriller film directed by Nick Willing from his original screenplay. It is about a British family who moves into a dilapidated old manor on the Yorkshire Moors, only to discover that it has a dark past. The film stars Olivia Williams as Meg Hamilton, Matthew Modine as Alec Hamilton, Antonia Clarke as Penny and Adam Thomas Wright as Harper. The Hamilton family moves into a large country house on the Yorkshire Moors to supervise the restoration from a dilapidated B&B to the original Victorian grandeur. When Meg Hamilton, wife, mother and renovation expert loses her London renovation team after an accident, then a local Yorkshire team too superstitious to continue, she’s forced to carry on alone. The discovery of a secret attic room, a Rosicrucian mosaic, a bricked up root cellar and many other unexplained events gradually convince Meg, her husband Alec and children Penny and Harper, that they’re not only restoring the house, but also its original Victorian owners who died 150 years ago. But before they can escape, the house – and its former occupants – force them to spend one last, terrifying night under its roof. Artist Alec Hamilton, his wife Meg and their children Penny and Harper move into the bleak and isolated Radcliffe Hall in Yorkshire, which Meg is refurbishing for an American client. Penny believes she sees a ghost in one of Meg’s photos of the house and later clams that a ghostly young woman tried to get into bed with her. Uncovering what they believe is a Satanic altar on which Radcliff allegedly killed his wife in 1845 before drowning himself causes the workmen to quit and Penny brings in psychic Nigel Lean, who tells them that Radcliffe’s presence is very strong in the house. Meg is skeptical until she too sees a ghost and sees that Alec, who cut his hand which now bleeds for no reason, is being taken over by the ghost of Radcliffe. As night falls she prepares to take the children and flee but first must overcome Alec, who seems determined that history should repeat itself with Meg being sacrificed on the altar.

💎💎BUNNY LAKE IS MISSING💎💎- American single mother Ann Lake (Carol Lynley), who recently moved to London from New York, arrives at the Little People’s Garden Preschool to collect her daughter Bunny. The child has mysteriously disappeared. An administrator recalls meeting Ann but claims never to have seen the missing child. Ann and her brother Steven (Keir Dullea) search the school and find a sinister woman living upstairs, who claims she collects children’s nightmares. In desperation, the Lakes call the police and Superintendent Newhouse (Laurence Olivier) arrives on the scene. Everyone becomes a suspect and Superintendent Newhouse is steadfast, diligently following every lead. The police and Newhouse decide to visit the Lakes’ new residence. They find that all of Bunny’s possessions have been removed from the Lakes’ home. Ann cannot understand why anyone would do this and reacts emotionally. Superintendent Newhouse begins to suspect that Bunny Lake does not exist after he learns that “Bunny” was the name of Ann’s imaginary childhood friend. Ann’s landlord (Noel Coward), an aging actor, attempts to seduce her. Newhouse decides to become better acquainted with Ann to learn more about Bunny. He takes her to a local pub where he plies her with brandy and soda.

On her return home, Ann discovers she still has the claim ticket for Bunny’s doll, which was taken to a doll hospital for repairs. Regarding the doll as proof of Bunny’s existence, she frantically rushes to the doll hospital late at night and retrieves the doll. Steven arrives later and when Ann shows him the doll, Steven knocks Ann unconscious and burns the doll, trying to destroy it. He takes Ann to a hospital and tells the desk nurse that Ann has been hallucinating about a missing girl who does not exist. Ann is sedated and put under observation. Ann wakes and escapes from the hospital. She discovers Steven burying Bunny’s possessions; he has sedated the child and hidden her in the boot (trunk) of his car. Steven implies an incestuous interest with his sister and complains that Bunny has always come between them; because he believes Ann loves Bunny more than him, the child threatens Steven’s dream of a future with Ann. Realizing that her brother is insane, Ann plays childhood games with him to distract him. Newhouse, having discovered that Steven had lied to the police about the ship that brought the Lakes to England, arrives in time to rescue Ann and Bunny and apprehend Steven.

Ann Lake arrives in London from America to join her brother Steven, a journalist. She hurriedly enrolls her illegitimate 4-year-old child, Bunny, in a nursery school and sees only the waiting room and the school cook. When Ann returns to the school to collect Bunny, the child is missing – none of the staff has seen her and the cook has walked out on her job. Police Inspector Newhouse is called in and attempts to put some clues together. He finds that he is not quite sure that Bunny even exists. Steven seems more concerned about Ann’s mind than about the child; nobody at the school has ever heard of Bunny; all of Bunny’s possessions that Ann claims were in the new house are missing; and Ann once had an imaginary playmate named Bunny. Nearly in shock, Ann finds a repair stub for one of Bunny’s dolls that leads her to a doll repair shop. Before she can take the evidence to the police, she is knocked unconscious by Steven, who steals the doll and burns it. Ann is taken to the hospital, but she escapes in time to see Steven take Bunny, drugged, from his car trunk. He is about to strangle her when Ann diverts his attention and suggests to him moments from their childhood when he, possessive of his sister, tried to destroy her imaginary playmate. She keeps Steven occupied with children’s games until the police, at last aware of the truth, arrive to take him away.

Young Ann Lake has just moved to England from America with her successful but controlling brother Steven. The two are extremely close, with Steven doting upon Ann. In a hurry the day she enrolls her child, Bunny, in a private school, Ann leaves her with the school’s female German cook, then runs off to do errands. That late afternoon, Ann returns to the school to pick up Bunny. To her increasing dismay, however, no one at the school seems to know where Bunny is or even who she is. Ann interrogates one of the school’s staff, Elvira, who hasn’t a clue. When the arrogant Steven arrives, he badgers Elvira further. Soon, Superintendent Newhouse, an unflappable British police officer, arrives, looking into the matter. He talks with all parties involved including Ada Ford one of the school’s elderly founders. The eccentric Ada resides in an upstairs room, where she’s currently compiling a tome about childhood nightmares. Newhouse continues his investigation, tolerating the threats and barbs from Ann’s increasingly accusatory brother, Steven. But as Newhouse puts together Ann’s profile, he begins to doubt her story in subtle ways. After all, since no one saw the child (the Cook has quit and has disappeared) he has to wonder if Ann even has a child. Is she delusional, perhaps?

The insinuation infuriates Steven, but he seems to back it up with references to Ann having had an imaginary playmate named Bunny as a child. Ann must now try to find clues that her child really exists. She must also fend off her creepy new landlord, Wilson, an aging homosexual actor who’s always drunk and carting about his little dog. The Police interrogate him, as well. When Steven comes across Newhouse talking to Ann in a pub, he blows up at the officer, threatening him and accusing him. As police attempt to locate the Cook, Ann’s nightmare intensifies. Desperate for evidence that will prove the existence of her child, she suddenly remembers the claim check for a store that’s repairing Bunny’s doll. In spite of the late hour, Ann goes off in a cab after telling Steven where she’s going. In the meantime, Newhouse and his men look into travel records that brought Ann and Steven to England. Ann finds the doll shop, which although closed, has an unlocked door. She gets the doll from the proprietor. Steven has followed her, however and Ann presents him with the doll and goes off to deal with the Proprietor, Steven gets a crazed look in his eye and sets the doll afire. Ann is horrified. Ann follows Steven to a remote location where he has Bunny hidden. Steven is the kidnapper! Indeed, Steven is so close to his sister Ann he found Bunny an intrusion in their relationship. Steven has now lapsed into another identity – a more murderous one and likely an extension of their imaginary selves as children. He’s now intent upon killing the child, so as to have sole access to his sister again. Ann tricks Bunny away from the demented Steven by engaging him in a series of childlike games. Steven chases Ann and Bunny, but Newhouse and Police soon arrive, arresting the demented young brother. They finally found the evidence they needed of the child’s existence by way of travel records.