The Bizarre Month of October 2026 in Film

Ready to Roll

Another month of movies has come and gone, and I have to say, it had one of the most interesting lineups of the entire year. Whether it be satirical comedies, biographical dramas, or high-stakes blockbusters, there was certainly no shortage in the variety of movies released this month. But of course, that raises the age-old question: what were the biggest highlights and most shocking low points of this filmography?

Between the beginning of the month and its last batch of major releases, I saw six of its mainstream features in cinemas, ranging in both style and genre. And while some of them were certainly better than others, I believe that each one had its own unique sense of merit, whether it be in objective quality, entertainment value, or filmmaking technique. I have a multitude of thoughts on each film I saw this month, and I am excited to delve into them as we enter this year's homestretch.

There's a lot of movies to cover and even more talking to do, so grab your snacks and get comfortable as we recap October's most fascinating features!

Digger

Grab a shovel and start digging, because one of Hollywood's most decorated actors is back to unleash a whole new side of his talent! Directed by Alejandro G. Iñárritu—known for films like Birdman and The Revenant—this feature centers on the titular Digger Rockwell, a wealthy oil magnate who owns a drilling company. During an oil extraction in Greenland, the boisterous Rockwell inadvertently causes an environmental disaster which threatens to destroy the world as he knows it. With the entire population at risk, Rockwell sets off on a journey to save them from his mistakes, even as he begins to question the world around him. 

Despite the sheer amount of promise this movie held—between its star, director, and premise—it actually ended up being one of the most notorious cinematic failures of the entire year. Not only was it a financial disaster, losing the studio an insane amount of money, but it also ranks among one of the most polarizing films to come out in recent years. Even now, it is still a common debate in the online film community as to whether it is a masterpiece or a mess. 

Personally, I ended up being right in the middle with my thoughts. I certainly don't hate this movie, but I still think it could have been much better. There are a lot of things to commend in this movie, including the stellar technical elements—with beautiful cinematography and a distinct visual style elevating its quality—and engaging performances. In fact, I could argue that this movie has one of Cruise's most commendable performances as Rockwell, a character he displays with the perfect combination of greed, cockiness, and exaggerated humor—which reminded me a lot of his role in Tropic Thunder.

Where the film falls apart for me, however, is in its storytelling. I was honestly surprised at how uninvested I was in this movie, especially with the promising arc Rockwell has and its insightful commentary on subjects like corruption, the consequences of greed, and unity in uncertain times. But, due to a very strange plot twist around the second act of the movie, the screenplay crumbled for me, as I felt it took away from what could have been a more powerful movie, in favor of introducing a tonally strange subplot. I feel like it would have been more impactful if the big twist was revealed later into the runtime, as it would have given viewers more time to marinate with the film's story and style while still building effective commentary.

Not to mention, for as commendable as many of the performances are, I still think the movie could have handled them a bit better, as much of the dialogue is devoted to the characters screaming at each other. At its worst points, it made the movie feel like nothing but noise, as the message gets lost in needlessly hyperbolic lines which can get agitating after a while. The performances themselves are still fine, and lean into the satirical elements quite well, but I wish there were a few more quiet scenes to balance out all the boisterousness. 

All of this combined results in a movie that could have been special, but ended up being nothing more than just okay. Make no mistake, the film undoubtedly has something important to say, and can certainly justify its existence in that regard. But as a movie overall, it digs its head too deep into the dirt, leaving it only able to pull up mediocrity as a result.

The Social Reckoning

Log in and check your status, because reports are showing that one of the last decade's most acclaimed films has earned a surprise follow-up! This spiritual successor to biographical drama The Social Network dramatizes the 2021 Facebook leaks, courtesy of Wall Street Journal reporter Jeff Horwitz and whistleblower Frances Haugen. The film tracks their actions in exposing the corrupt nature and mental threat of Facebook—and its CEO, Mark Zuckerberg—as more of its users become radicalized and the algorithm becomes more dangerous. 

The Social Network is one of my favorite biographical films ever made, as it perfectly balances its core concept—the creation and rise of Facebook—with an impeccable handling and development of its characters, especially Zuckerberg. As such, I went into this successor hoping it could maintain some of that same magic, even if capturing lightning in a bottle twice would be a difficult task. I ended up leaving the movie generally satisfied, though I cannot deny it is a massive step down from its predecessor. 

The biggest issue I had with the movie came from its overall structure, which will certainly not appeal to a wide audience. Not only is much of the movie built on expository dialogue between Horwitz and Haugen, but it follows a non-linear narrative, constantly jumping back and forth between 2019 and 2021, in a style which left me totally conflicted. 

I understand why the creative team went this direction, as it ties back past and present events in real time, but it honestly got distracting after a while, especially with how unexpectedly each transition occurs. Plus, the writing for the characters is not as impactful as in Network, largely due to the dialogue-heavy structure and lack of distinct arcs.

That said, I was still relatively engaged by this movie, namely in how well it explores Facebook as a platform, and how much it has affected its users in the time since its predecessor. The film touches on many relevant topics like radicalization, mental health, and the danger of the platform's algorithm after too much time has passed, first illustrated in an opening scene which sets the tone for the rest of the runtime. As it progresses, it paves the way for a fascinating conflict as more details come forward in how Facebook operates, and how Zuckerberg handles each mishap. 

Speaking of which, Zuckerberg is portrayed with excellence by Jeremy Strong, who strongly follows up on the role Jesse Eisenberg originated in Network. I was particularly impressed at how well Strong mimicked the real Zuckerberg's voice, and how he balances traits of emotionless greed with a condescending demeanor. It ultimately makes every scene he is in a highlight of the film, though the rest of the cast does quite well too—especially Mikey Madison and Jeremy Allen White as Haugen and Horwitz, respectively—even with the writing's occasional hiccups. 

Though it is nowhere near as good as the previous film, I still think this a very respectable follow-up that stands its own ground. In fact, I think it is worth logging in to check out at least once. 

Whalefall

We all love going swimming, but what if a colossal creature suddenly appeared and put a stop to your open water exploration? That's unfortunately what happens to scuba diver Jay Gardiner, who dives in uncharted waters in search of his father's remains. But during his journey, he makes close contact with a sperm whale, which ends up swallowing him whole. With extremely limited space and only one hour of oxygen, Gardiner must fight to escape the whale before his body and legacy turn to chum. 

This movie is based on a novel by Daniel Kraus, which I have admittedly never read, but has one of the most uniquely terrifying premises I have seen for a survival story. As such, I was very curious to see how they would adapt it to a feature presentation. And I have to say: I was quite impressed upon leaving the theater. Director Brian Duffield takes the core concept of being swallowed by a whale, and takes full advantage of the terror behind the description, leading to one of most intense viewing experiences I had all month. 

Granted, it is not a perfect viewing experience, as the writing can falter in a few areas. Notably, there is somewhat of a dynamic in the story between Gardiner and his surviving family members, but the film does not devote much time to fleshing it out, leaving their characters to feel quite forgettable. That, and it does something interesting in the third act—which I will not give away to prevent spoilers—that did feel a bit out of place tonally, at least for my initial watch. However, everything else surrounding those faults is extremely respectable, so I can very easily forgive them.

I was particularly impressed at how the film handles its tension, which goes into effect as soon as Gardiner goes underwater. It lets the sound design and cinematography do most of the heavy lifting, allowing claustrophobia to build in an extremely effective manner. As Gardiner uses up his oxygen, the camera emphasizes close-up shots on his face and limited movements in the whale's crammed stomach. Mixed with the limited lighting, heavy emphasis on Gardiner's breathing, and lack of overbearing music, this approach reminded me a lot of The Descent, a horror film which uses similar techniques to keep viewers gasping for air. 

The conflict is further sold thanks to a fantastic performance from Austin Abrams, who takes up the majority of the film's screentime. Known for portraying realistic characters who end up in dire situations—also seen in Weapons and Resident Evil—Abrams brings Gardiner to life with a fantastic sense of terror, especially as the runtime progresses and his oxygen runs lower. 

On top of that, he manages to provide a great tenderness to him, as he struggles to cope with his past and the relationship he had with his father—who is played intimidatingly well by Josh Brolin. This also gives him a strong arc throughout the feature, all culminating in a heartfelt conclusion.

All of these aspects combined lead to one of the most effective survival stories I have seen in a while, despite it not being directly a horror movie. By putting the thrills up front and not negating character work, this film takes a promising premise and successfully swims it up to the top of the food chain.

Street Fighter

Select a fighter and pick your stats, because one of the most celebrated fighting games is ready for a new level on the big screen! Based on the titular Street Fighter franchise, this new adaptation introduces viewers to Ryu and Ken Masters, two fighters raised under the same master like brothers. After years of separation, the two are approached by undercover agent Chun-Li to partake in a fighting tournament hosted by M. Bison—a corrupt dictator who she plans to take down—consisting of the toughest brawlers in the world. With fierce competition at every turn, Ryu and Ken reunite to take down their competitors and ultimately emerge victorious.

There have been a few attempts to bring this classic fighting game series to the big screen before, but they often found very little success. At face value, it seemed like this version would be no different, as it was released to negative reviews from critics and was yet another financial flop. Upon watching the film, it is not hard to see where this reception comes from, as this movie is heavily faulted in execution. 

It has very messy writing, as its main plot is relatively generic while the surrounding subplots do not get much recognition until the script calls for them—mainly prominent with Chun-Li and her quest for vengeance. Because of this, the characters feel underdeveloped with very standard traits and interactions, though Ryu and Ken do share an enjoyable dynamic.

Not to mention, without giving too much away, this movie has one of the most anticlimactic endings I have seen in any film from this year. Right when the story takes a dark turn and sets up a new scene, the movie just stops, cutting to credits before I was able to fully comprehend what was happening. It ultimately felt more like a cheap setup for a sequel that may or may not happen, rather than an effective buildup of what's to come.

But even with all these grievances I have towards it, I would be lying if I said I didn't have the time of my life watching this. This might be an unpopular take, but I was generally satisfied by this feature, because it embraces its true identity and doesn't try pretending to be something it's not. Director Kitao Sakurai takes the Street Fighter identity and illustrates it on the big screen in an incredibly fun way, akin to another fighting game adaptation from this year, Mortal Kombat II. 

This movie is filled to the brim with action sequences, each of which being expertly shot and choreographed. It implements creative visual designs, a plethora of color schemes, and movesets straight out of the games to transport viewers into the world of Street Fighter, staying true to its fighting roots while finding creative ways to make it cinematic—especially in locations, energy, and scope. 

The film is also elevated by a massive ensemble cast, most of whom do a great job at bringing their characters to life in fun and engaging ways. Some of my favorites included the brotherly dynamic of Andrew Koji and Noah Centineo as Ryu and Ken, respectively, and David Dastmalchian's hyperbolic menace as Bison.

Make no mistake, this movie is objectively very flawed. But from a pure entertainment standpoint—especially when compared to previous Street Fighter movies—it gets the job done, resulting in a highly underrated action flick worthy of calling a champion.

Wildwood

If you ever see a mysterious glow or mystical creatures appear out of the nearby woods, that could indicate something special is afoot—in this case, the return of one of animation's most celebrated studios! The hands at Laika Studios, which crafted masterworks like Coraline and Kubo and the Two Strings, have returned to the big screen after seven years to tell the story of Prue McKeel, whose infant brother Mac is abducted by a murder of crows into an enchanted forest. After travelling there with her classmate, Curtis, they become trapped in a race against time to save Mac before time runs out, as the threat of a coming war looms through the woods.

Laika has always been one of my favorite animation studios, as they specialize in a distinct, stop-motion style—wherein every frame of a movie is crafted by hand using photography techniques—while handling mature themes in many of their stories. With Wildwood, it was promoted as their most ambitious outing yet, with its development going back over 15 years. Ever since the beginning of this year, I counted down the days until this movie finally emerged from the woods and into cinemas. Upon leaving, I am proud to say that my expectations were not only met, but exceeded in almost every way. 

Movies like Wildwood are the reason why I fell in love with this medium in the first place, as they tell creative and emotional stories with an undeniable scope, maintaining a goal of making the audience feel something. As I watched this movie, I was left in total awe at the beauty of its style and the weight of its writing; every single bit of Laika's years of devotion and craftsmanship absolutely pays off in this feature, which could very well be their magnum opus.

It takes a simple fantasy story setup and develops it in every way it can, paving the way for outstanding character work and conflict development. The film never shies away from the overarching threat of its tragic antagonist, but it allows Prue to go on her own journey of self discovery, culminating in a gut wrenching plot twist ahead of the third act. This is a very mature film, certainly more than Laika's previous outings, but that PG-13 rating allows it to explore dark subject matters effectively, and give even more depth to its characters. All the while, it balances its grounded and serious tone with occasional bits of humor that never distract from the plot, and tie in well with the many creatures of the forest.

Speaking of which, every character is brought to life in a flawless manner. Not just through impeccable voice acting and dialogue from its massive, talented ensemble—with Peyton Elizabeth Lee and Carey Mulligan providing my favorites—but also through sweeping, stunning stop-motion, which could be some of the very best I have ever seen. Every location pops with color, every character model moves seamlessly, and above all else, it has some of the grandest scope I have seen in any contemporary animated film. 

A key example of this comes at one of this year's most commendable climaxes, when a massive fight between good and evil breaks out. It does not shy away from brutality, but it amplifies the effort that goes into making a stop-motion film, and pays off in an unforgettable fashion.

It's not often I come across a modern movie that I can truly consider to be something special. But with this film, not only does it cross that threshold, but it could very well be the strongest cinematic achievement I have seen this entire year thus far.

Clayface

Get ready to look fear dead in the face, because one of the most tragic villains in the DC Universe has finally received a proper big screen treatment! Based on the iconic Batman villain, this film introduces viewers to Matt Hagen, a rising film star whose career is shattered after a ruthless attack by gangsters. Left disfigured from the encounter, Hagen desperately accepts an experimental procedure from Dr. Caitlyn Corr, who technology seemingly restores his face to normal. But as time progresses and more details are uncovered, Hagen begins to lose control of his sanity, leading him on a dark downhill spiral as his body undergoes horrifying changes. 

The character of Clayface is one of the most celebrated in the Batman mythos, largely due to his iconic portrayal in Batman: The Animated Series. But compared to the Caped Crusader's other foes like the Joker and Riddler, he has seen very little big screen representation, save for a small cameo here and there. As such, I was highly enthusiastic to see how the character would be handled in his first theatrical outing, especially with horror veterans Mike Flanagan and James Watkins helming the script and directing, respectively. 

As the credits rolled, I was left very impressed, as the movie did what any good villain origin story should do: put the writing and character work at the forefront rather than solely rely on fan service. The film portrays Hagen as a tragic figure, whose life falls into shambles after messing with the wrong crowd, leaving in a state of desperation as he grasps at straws to get his life back. Hagen has a terrific arc, as the movie tracks his devolution into the titular monster, and how he gets back at the people who wronged him. Resultantly, the film becomes as captivating of a revenge thriller and tragic character study as it is a body horror film.

Speaking of which, this is far and away the most brutal movie with the DC name on it, at least in several years. While it is undeniably exaggerated in places—this is a comic book film, after all—it still gives the gore and terror a sense of groundedness, making it undeniably the most unique film in the current DC Universe so far. The film does not shy away from the body horror aspects, especially once Hagen's transformation and newfound powers reach new heights in the later half, resulting in many uncanny and unforgettable visuals courtesy of commendable practical and digital effects—a standout example being at the film's conclusion.

These aspects are brought to life in an amplifying way by the cast, who all do exceptionally well in their roles. Namely, I was impressed by the tenderness and care Naomi Ackie gave Corr, while Max Minghella does equally well as a detective eager for the truth. 

But without question, the standout performance of the movie comes from the man on the poster: Tom Rhys Harries as Hagen. This is his first leading role in a mainstream feature, but he knocks it out of the park with his layered and tragic portrayal of a man who seeks the life he once had. Through his emotional line deliveries, expert balancing of his good and bad personalities, and overarching menace in the second half, he gives Hagen a terrific identity for his big screen debut.

This movie took full advantage of its premise and source material to deliver an effective end result, turning it into one of the most haunting horror films of the year perfect to catch ahead of Halloween. 

A Flamboyant Filmography

October presented a very fascinating lot of movies, but the lot turned out to be one the year's most distinct. Whether it be the intense style of Whalefall, effective horror of Clayface, insightful commentary of The Social Reckoning, or ambitious mastery of Wildwood, every film I saw in theaters this month had something to offer, in turn providing a lasting impact. Even some of its weaker films like Digger and Street Fighter still had some type of respectable value to them. 

As we enter the homestretch of this year, I will look back on this catalog of movies fondly as I eagerly wait for the projector to load up next month's selection of promising pictures.