The Thrilling Month of September 2026 in Film

The final third of 2026 is upon us, and with it comes a massive array of movies spanning across genres and styles. In fact, the month of September had plenty to offer in terms of movies, each contender boasting their own distinct appeal. But that raises one question: what features stand out as the biggest highlights of the month, and which ones will be most fondly remembered?

Over this past month, I went to the cinema four times—both nearby at Cinépolis Luxury Cinemas Mansfield and home at Reading Cinemas Manville. But while each film I saw was undeniably unique from the rest of the release lot, they all had one thing in common: they are all built on intensity in some capacity. Whether it be to entertain, engage, or frighten the audience, these movies used tense concepts and backdrops to their advantage, leading to a very strong catalog of enthralling entertainment.

Sit back, relax, and enjoy as I cover all the films I saw in theaters this past month!

Onslaught

Keep the doors locked and stay out of sight, because a horde of stealthy threats has snuck onto the screen! Directed by Adam Wingard of the Godzilla x Kong franchise, this action horror flick focuses on Celeste Cross, a former army sniper who manages a trailer park. One day, the park and its surrounding area are attacked by three genetically enhanced super soldiers, on a mission to kill anything and everything in their way. With nowhere to hide, Cross must find a way to neutralize the threats, and save her neighbors and daughter from meeting a bloody end. 

Compared to the other films I saw this month, this one saw the weakest returns, earning a mixed reaction from critics and audiences while massively underperforming financially. However, I ended up being very surprised by this feature, as it ranks among one of the most underrated I have seen this year. 

What I loved most about this film was how it managed to balance out several insane action sequences with an engaging story. Though its narrative is a bit linear and formulaic, it makes up for that through its entertainment value and strong characters.

Namely, I loved how the film developed Cross as a character, exploring her past in the military and how it affects her in modern times, while showing care for her daughter, neighbors, and even the trailer park she manages. As such, when the antagonistic soldiers break loose, it adds a personal layer of stakes to the conflict, as she taps into her past to find a way to save her loved ones and herself. She is portrayed excellently by Adria Arjona, who gives the character distinct traits of ruthlessness and tenderness. 

The other side characters, though kind of unremarkable through a lack of distinct arcs, are all enjoyable to watch thanks to their performances—some highlights include Reginald VelJohnson as Celeste's neighbor and Dan Stevens as a hyperbolic mad scientist. As for the super soldiers, not only are they effectively brooding despite not speaking a word, but they are also capable of being some of the year’s most unpredictable villains. This is especially prominent in the film’s many action sequences, which are mainly rampant in its second half.

Speaking of which, the action setpieces and choreography are undoubtedly the film’s overall highlight, as they manage to be both creative and terrifying at the same time. Through a well-balanced tone, the film can be entertaining at one second and mortifying at the next. For instance, a scene where the soldiers attack a convenience store left me on the edge of my seat—namely through its shocking execution and haunting sound design. A few minutes later, when they attack the trailer park, it kicks off a flurry of intensely fun action, all culminating in a satisfying full-circle moment in the climax. 

Though it may not be a perfect movie, it still serves as a highly respectable adrenaline rush high on thrills and chills. As such, I’d highly recommend checking this film out—especially if you’re an action or thriller fan—for a full onslaught of carnage.

The Uprising

A revolt has made its way to cinemas nationwide, courtesy of this period piece based on a true revolution! Based on the 1381 Peasants' Revolt in England, this film centers on an unnamed ploughman who struggles to cope with the loss of his family to the Black Death. Living under the tyranny of King Richard II, citizens are forced to work hard hours and pay harsh taxes. But when Richard's council decides to raise taxes on the peasants, it kickstarts a brutal uprising as the citizens rally to fight back against their oppressors. 

The best way I can describe this movie is in one word: serviceable. As a historical action drama, it delivers on all the fronts I had expected it to: it tells an interesting story based on a past event that I was previously not too familiar with, complete with expert performances from Andrew Garfield as the ploughman and Woody Norman as Richard II. It even features a massive array of action; much like Onslaught, this film does not skimp on the fight or revolt sequences, with many of them often being very tense, brutal, and effectively set up. The biggest highlights can be spotted in the third act, which begins on a shocking kickstart before culminating in an unforgettable conclusion. 

Unfortunately, of all the September movies I saw theatrically, this one was easily the weakest one of the lot for me. Not necessarily because of its writing or character development, but more so because of how strangely its scenes were executed onscreen. This movie is directed by Paul Greengrass—whose filmography includes Captain Phillips, United 93, and most of the Jason Bourne series. In his features, Greengrass often uses a shaky-cam style of editing, where the camera rapidly shakes by design to invoke a feeling of intensity. While I can certainly see the vision, this style did not work for me in this movie, as it made the viewing experience more nauseating than engaging. 

Despite the promise of the action scenes, and the gorgeous cinematography, the camera shakes so much to the point where it becomes hard to see what’s playing out onscreen. I want to commend the fight choreography and how the film utilizes its locations, but it is sadly hard for me to do so when I can barely tell what’s going on half of the time. As such, this strange style of editing ultimately sours a good chunk of the movie, as its gimmicky editing prevents viewers from being able to fully take in and enjoy the action setpieces.

Not to mention, though I do not have a problem with the core story itself, I did want to mention something about how the film was marketed. Strangely, right before it came out, the studio decided to label the film as a Robin Hood movie, despite it being based on a historical event. In fact, there is barely any connection to Robin Hood throughout the entire runtime, aside from one 5-minute epilogue at the end. This not only felt completely random in the context of the movie, but it felt more like a desperate attempt to sell the movie to audiences rather than serve as an effective connection to the classic story. 

Make no mistake, I still enjoyed the film overall. But when compared to its competition, its faults easily hinder it more than the rest, turning what could have been an incredible period piece into a somewhat disappointing revolt. 

Resident Evil

After over 20 years of failed franchises and sour seasons of television, one of the most beloved video games in the horror genre is ready to unleash its full potential on the big screen! Directed by Zach Cregger of Barbarian and Weapons, this adaptation introduces audiences to Bryan, a medical courier who decides to take a last-minute shift before calling it a night. His destination is Raccoon City, where he must deliver a mysterious package with an unknown macguffin inside. But upon his arrival, Bryan is forced to fend off against ravenous zombies and creatures of the night as his night shift turns into a nightmare. 

Over the years, there have been several attempts to bring this beloved horror video game series to the big screen—including a six-film series held in low regard, a reboot which flopped with critics and audiences, and a Netflix series that was cancelled faster than you can say “zombie.” However, I am ecstatic to say that this franchise has finally found big screen justice, with one of the very finest horror films of the entire year. This film not only works effectively as a scary movie—perfect ahead of Halloween—but it also serves as a strong adaptation of the games themselves.

This primarily stems from how uniquely it adapts its story. Rather than focus on a storyline and characters from the source material, the film tries something new by introducing an original protagonist for audiences to follow. That, and it focuses more on adapting the gameplay into live action, which often sees Bryan exploring snowy locations, desperately searching for ammo, and attempting to evade as many creatures as possible. Though it can lead him to make some occasionally questionable decisions, and does culminate in an ending which will undoubtedly polarize audiences, this unique approach keeps the film engaging as Bryan recklessly travels from point A to point B. 

It also helps that Bryan himself is a very enjoyable character, largely thanks to Austin Abrams’s incredibly committed performance. He manages to balance out being horrified for his life impeccably with how he interacts with his surroundings, often leading him to make a lot of humorous quips which often got a chuckle out of me. 

Under Cregger’s direction, he also finds himself at the center of the film’s countless action and horror sequences, which are as entertaining as they are horrifying. Some standouts for me include a scene where Bryan explores an RV, a chase sequence in a snowy field, and an intense run down the street as villains rain from above. 

These sequences are further elevated by the movie’s impeccable technical elements, including an impressive array of effects. It combines practical and computer-generated effects flawlessly, primarily in its creature designs and horrifying mutations seen throughout the runtime. On top of that, the music from Hays and Ryan Holladay perfectly complements every scene, especially when things hit the fan in the third act. Top it all off with some impressive supporting performances and Dariusz Wolski’s gorgeous cinematography, and the result is quite possibly September’s strongest film outing, cementing Cregger’s legacy as he becomes a mainstay resident of the horror genre. 

Primetime

Take a seat and be ready for the camera, because one of television's most infamous personalities has received the big screen treatment! Set in 2006, this film centers on Chris Hansen, who sets out to make history with his show, To Catch a Predator. After a slew of successful sting operations, the network moves the program to a primetime slot, ensuring it can reach the widest audience possible. But, in his desperation for success, Hansen falls down a rabbit hole of obsession as his crew prepares for what could be the biggest sting of their entire careers. 

When I first walked into the auditorium for this film, I did not fully know what to expect. The trailers had marketed it almost as more of a psychological thriller than a biopic, a rather unconventional approach compared to most others in the subgenre. However, this movie shook me in a way that not many others from this year have done before; so to say, I was highly impressed. It serves as much less of an examination of To Catch a Predator in its prime, and more of a deep dive into the behind-the-scenes circumstances it had, as well as of Hansen as a person. 

Granted, the film does take some creative liberties to tell its story, though some felt more tacked on and underdeveloped than others— a key example is Hansen’s relationship with his wife and a controversy involving an affair. However, when it comes to how it explores the making of To Catch a Predator, it absolutely succeeds. 

Not only does the film shed more light on the process of how the show goes to air, but it does hold back in what it shows the audience. As a result, there are several intense and uncomfortable moments which work in the context of what the film sets up, whether it be a shocking action or dialogue caught on camera or the moral ambiguity of Hansen’s desperation to make history. 

These aspects are amplified expertly by the film’s cast and crew, which make the experience all the more intense. Director Lance Oppenheim—who is mainly known for documentaries—enters the narrative scene with a distinct style of editing, making use of dark locations, camera tricks, and occasionally bizarre visuals to help the movie feel gritty and unique, even feeling occasionally realistic in how it recreates scenes from the original series. This style pairs very well with the writing, which delves into the points-of-view of multiple characters, and the impact the show has on them. 

This is especially prominent with Hansen and Dan Plumb, an aspiring actor who is hired as a decoy for To Catch a Predator. The two have contrasting personalities, with the former being eager to do the right thing—and falling victim to his own desperation—while the latter yearns to find his place as an actor and prove his worth to Hansen. 

The two are performed marvellously by their actors, with Robert Pattinson portraying Hansen in a near uncanny way, right down to the accuracy of his mannerisms and voice. Meanwhile, Skyler Gisondo steps up to the plate to deliver a remarkable performance which showcases Plumb’s enthusiasm, fright, and skepticism, particularly standing out in a confrontation scene in the second act of the film. 

All of these aspects combined result in a biopic which is as enthralling as it is thrilling, cutting the cameras on the month of September with an unforgettable note. 

An Awesome Array

Overall, September’s film catalog has been among one of the most unique lots of the entire year. Each feature involved high stakes and intensity, but they all utilized those concepts in distinct ways from each other, resulting in a selection of features perfect for any thrillseeker, no matter their preference of genre. And though The Uprising did stumble a bit in its execution, the month remained worthwhile through Onslaught’s strong writing and non-stop action, Resident Evil’s unique adaptation of its source material, and Primetime’s unforgettable style compared to other biopics. 

As the month of September cuts and October prepares to take center stage, I can confidently say that the former provided some of the most thrilling and well-crafted features of the entire year, leaving me ecstatic for what may come next.