October 30, 2026
Usually as the calendar turns to October, there are two certainties in the world of movies. The first is that there is an avalanche of new releases that cinephiles like myself feel the need to see. The second is that we see a dramatic increase in the quality of those new movies, compared to some of the films dumped into theaters in late summer. Studios are ramping up their planning for the coming awards season and that starts with a fall release of their films to audiences and critics.
This year felt rather strange as during the first two weeks of October, I found myself pretty disappointed with some high-profile new releases and feeling a desperate need to be moved and entertained in a theater. Thankfully, two weeks ago I jumped on a train to Philadelphia for my fifth year at the Philadelphia Film Festival. More on that adventure and some of the great movies I saw there in a minute. But first, we must address some high-profile bombs at the box-office.
A Big Swing…..and a Miss – Digger
The month of October started with the high-profile film Digger, directed by Oscar-winner Alejandro G. Iñáritu (Birdman, The Revenant), starring Tom Cruise. I have written thousands and thousands of words about Cruise’s career, including my wish that he would try something different than the action-hero flicks we’ve seen him in for the better part of the last twenty years. And Digger is certainly a departure from Ethan Hunt and Pete “Maverick” Mitchell. Unfortunately, this movie was a resounding disappointment.
Cruise stars as an oil tycoon whose company inadvertently causes an environmental catastrophe that threatens virtually every country on the planet. He convinces the President (played by John Goodman) that he can figure out how to fix the problem, but his strategy is not exactly eco-friendly. Now, it’s best to not reveal any more of the plot because there is a story decision that is not evident in the trailers, but is revealed about 30 minutes into the film. I saw Digger on its opening day, so I had no knowledge of this plot point, and I have to admit I was thoroughly confused for several minutes. But once I figured out what was going on in this movie, I had two thoughts. The first is that I thought it was an interesting idea for a film. The second is that it didn’t change my opinion of the movie’s quality for a simple reason. Digger is not funny, and even worse, it’s trying to be overly funny. I had a bad feeling weeks ago while watching the trailer when I saw a scene where Cruise is telling a dick joke that is not remotely funny, and his character is overexplaining the joke, making it even more cringey. If that’s the joke you put in the trailer, you know you are in trouble.
I give Cruise credit for trying something different, and he is truly acting his ass off. But even a strong Cruise performance can’t save a weak script that has messaging about the environmental crisis that is not even remotely subtle. Iñáritu is trying to demonstrate to the film community that he thinks he is smarter than everyone else, and is such a clever writer. But, he’s not. Having a bunch of actors scream-swearing doesn’t make a movie funny. If you found Don’t Look Up, another environmental crisis satire that I struggled with, even remotely annoying, then you will really dislike Digger, because most of the acting is downright irritating.
Apparently I am not alone in my opinion of Digger as the film was a massive failure with audiences, who stayed away during its opening weekend. Most people who saw Digger agree that Cruise was great and he might even get a Best Actor nomination at the Oscars. Critics have been divided on the film itself, with some hailing it as brilliant and a likely cult hit in the future. Warner Bros. tried a brave marketing technique after the initial reviews, telling audiences to ignore the negative reactions and “see it for yourself.” You know a studio is desperate when they are saying, “Hey, we know everyone dislikes our new movie, but maybe you’ll be different.” Buyer beware on this one if you decide to check it out. Digger will be available to rent on demand in the coming weeks.
The Preacher Returns – The Social Reckoning
A week after the Digger disappointment, I saw another film that I was highly skeptical of since I heard Aaron Sorkin say a few years ago that his next movie would be about the January 6th insurrection. We soon learned that The Social Reckoning would be a “quasi-sequel” to 2010’s The Social Network, a masterpiece that should have won Best Picture and David Fincher’s long-awaited Best Director Oscar. Sorkin took home the award for Best Adapted Screenplay for that film, but Fincher still waits for his recognition.
With The Social Reckoning, Sorkin decided to tell the story of Facebook whistleblower Frances Haugen (Mikey Madison, in her first role since winning Best Actress for Anora) who worked with Wall Street Journal reporter Jeff Horwitz (Jeremy Allen White) to expose nefarious actions by Facebook, leading up to the 2020 election. Sorkin couldn’t convince Jesse Eisenberg to return as Mark Zuckerberg, so he recruited Jeremy Strong to play the Facebook CEO in a performance that is certainly committed. Unfortunately, it resembles a cartoon character villain that is laughable most of the time.
What gets Sorkin in trouble throughout The Social Reckoning is his habit of preaching to the audience. He bends over backwards to keep telling the audience how evil Facebook is, with no nuance or subtlety. Don’t get me wrong – some of the shit this company did is just awful, especially how they ignored data about the dangers of Facebook and Instagram to teenage girls, and how they changed their algorithm to amplify posts that would cause more outrage to users. But the way we listen to the characters depict what is happening feels like reading a Wikipedia page. Which brings me to another major problem I have with the movie.
Whenever Aaron Sorkin is mentioned, you will read how he is a terrific writer, but not a good director. His best screenplays have been directed by others – A Few Good Men (Rob Reiner), The American President (Reiner), The Social Network (David Fincher), Moneyball (Bennett Miller), and Steve Jobs (Danny Boyle) are all excellent films. But since then, his writer-director efforts have disappointed critics and audiences alike. I rather liked The Trial of the Chicago 7 (even though it is very preachy), but Being the Ricardos was rough. But, here’s my point. I don’t think Sorkin is a good writer anymore. The script for The Social Reckoning was incredibly disappointing. He uses a multiple timeline approach that he has employed several times before. When the climax occurred and we learned what day it is, I audibly groaned.
There were other eye-rolling moments in The Social Reckoning that I also found grating, especially the final shot. Several times, I honestly felt like the movie was going to pause, Sorkin would pop on screen and say “Hey, remember me? I’m the guy who wrote The West Wing. Did you like those funny little bits I wrote for that show? Like a character referencing classic movies and Broadway shows that has no bearing on the plot, but it’s kind of cute? Here’s another one.”
As for the actors, Madison is a very good actress, but her performance came off like she was impersonating Eisenberg playing Zuckerberg in The Social Network in a rapid fire monotone delivery of dialogue. I could not fathom why she was talking that way and even watched a video of Haugen after seeing the film to see if Madison was trying to emulate her. Nope, in fact, Sorkin told Madison not to impersonate Haugen and just perform the role like it was written in the script. White is perfectly fine as the reporter and the less said about Strong the better.
I can’t say I’m surprised that The Social Reckoning was a disappointment. I saw this coming a mile away, especially when the first trailer was released. I wonder what the future holds for Sorkin, as the film was a critical and box-office disappointment. He has clearly lost his fastball and might need to go back to television with a completely new idea, or maybe go back to the theater. His version of To Kill a Mockingbird was a Broadway hit and received strong critical reviews. Alas, I am not sure the big screen is the place for Sorkin anytime soon, until he can find a return to form. The Social Reckoning should be available to rent on demand in the coming weeks.
What the Hell is Going On?
So, two of the higher profile movies of October were huge disappointments. Surely, there has to be something good on the horizon, right? How about the domestic thriller Verity, based on the best-selling novel by Colleen Hoover? Not a disaster, but a ridiculous third act, an implausible ending, and some wooden acting from Dakota Johnson couldn’t save this one. Did I have fun? Sure. Would I consider Verity a good movie? Absolutely not. And to be clear – co-star Anne Hathaway is innocent on all charges.
Ok, how about Ben Affleck’s new Netflix thriller Animals? In addition to directing the story of a mayoral candidate thrust into a family crisis, Affleck plays the lead character opposite Kerry Washington as his wife. Matt Damon was originally cast as the lead, but had to drop out when he answered the call from Christopher Nolan to play the role that might (should) win him the Oscar for Best Actor. Fortunately, he dodged a huge bullet, because Animals is the typical disposable Netflix slop movie that we have been getting for years. The plot of the film is almost identical to Akira Kurosawa’s High and Low, which was reimagined by Spike Lee in last year’s Highest 2 Lowest. Do yourself a favor – skip Animals and watch Kurosawa’s masterpiece, or even Lee’s film, which is pretty good.
I’m reeling here. Surely, Jessica Chastain’s campy performance in the horror film Other Mommy will cheer me up. I mean, the trailer was insane – this has to be good, right? Nope – despite a tremendous effort from Chastain in a completely different role than anything she’s ever done, and a few thrilling sequences, Other Mommy was disappointing. This one felt like a half-baked idea that could have been a cool short film. I would have preferred an ambiguous ending than the tired plot resolution we got.
I have to admit – after this run of films to start the month, I was starting to have a crisis of confidence. Have I become too cynical when I watch a new movie because I have seen so many films over the last few years? Or, am I just in a rut with what has been released and what I see? Surely, something will come along that will restore my faith in movies, right?
Maybe I just had some bad movie karma in Connecticut and needed to get out of town. Thankfully, I had my train ticket to Philadelphia booked and my schedule for six days at the Philadelphia Film Festival all mapped out. Kind of, sort of. You see, I had another problem to deal with. There were (not exaggerating) eight new releases out the same weekend I was traveling to the City of Brotherly Love. Since I would be seeing festival movies all day and night, there would be no room for any new releases, so I would have to plan on seeing them after I get back home, or down the road when they are available at home. But there was one movie that I felt pretty certain I could not wait for.
What is the Truth? What is a Lie? – You Can See Everything
Upon arriving in Philadelphia on the first day of the festival, I decided to skip the first screening of the opening night film, The Only Living Pickpocket in New York,opting to see the later showing. It’s a really good crime thriller starring the brilliant John Turturro in an excellent performance. I liked a lot of things about the film – the deep cast, the on-location shooting in New York City, and a wonderful score. The story was pretty formulaic and predictable, but it’s worth checking out and is now in theaters.
I chose the late screening of Pickpocket, because I needed to spend my afternoon in a sold-out theater seeing the movie everyone is talking about, You Can See Everything. By now, you have likely heard about this three-hour documentary that has become a sensation since it was released two weeks ago. Nathan Fielder, the bold filmmaker behind the television series Nathan for You, The Rehearsal, and The Curse, partnered with director Lance Oppenheim (last month’s fantastic Primetime) to take us inside the world of Elizabeth Holmes, the disgraced former CEO of Theranos, as she prepares for her prison sentence for defrauding investors in her failed company.
You probably know the story of Holmes, which was exposed by Wall Street Journal reporter John Carreyrou, whose book Bad Blood is magnificent. Documentary filmmaker Alex Gibney also covered the story in 2019’s The Inventor, and of course, we saw the outstanding 2022 television series The Dropout, with Amanda Seyfried portraying Holmes. With all of this coverage of Holmes over the years, did we need another project about her? With the framing of the story – Holmes right before her prison sentence – and with Fielder behind (and in front of) the camera, the answer is a resounding yes.
It’s worth pausing to discuss Fielder, a truly unique personality. Now, I have very little experience with his work. I am aware of Nathan for You and The Rehearsal, but have never seen them. I watched The Curse and loved it, despite the unconventional storytelling style. Fielder loves to live in the uncomfortable realities of life. He has a way of interacting with others on camera that will make you not only laugh, but squirm in your seat. He is decidedly not for everyone, but based on the reaction to You Can See Everything, audiences and critics have embraced the film since its surprise screening at the Telluride Film Festival and screening at the New York Film Festival last month. It was also incredibly successful at the box-office the last few weeks (doing insane numbers for a three-hour documentary) and there are now serious conversations if the film could be the first documentary nominated for Best Picture at the Oscars.
As the story begins, we meet Elizabeth and her partner Billy, who are raising two young children, while trying to start a new business, as she prepares for her 11-year prison sentence. Oh, and we also see Fielder, huddled over in the corner, watching the chaos of the household. Clearly Fielder will be a part of this story, not just behind the camera. Throughout the runtime of You Can See Everything, Fielder pokes and prods at his two subjects, learning how the couple met (a truly bizarre story), how they currently function as a family with the impending prison sentence, and (most interestingly) what the hell really happened with Holmes and Theranos.
Now, You Can See Everything is not a detailed explanation of every aspect of the failed blood testing devices created by Theranos. For those aspects of the Theranos story, read Carreyrou’s book or watch Gibney’s documentary. That being said, there is a very interesting scene in this film where Holmes describes how the machines work, appearing to read from printed instructions. Fielder picks apart the words she is using, in a sequence that will remind you of Bill Clinton’s infamous line “That depends what the definition of the word ‘is’ is.”
Fielder is trying to truly understand how Holmes thinks and get at the heart of her actions – did she knowingly defraud investors or did she truly believe the machines worked? Is she a mastermind of deception or just not as smart as she lets on? Does she have such a unique way of thinking that no one can truly grasp her brilliant ideas? Watching Fielder show her the Abbott and Costello “Who’s on First?” sequence was one of the more riveting sequences I’ve seen in any movie this year. The more Fielder watches her and listens to her, the more he is confused as to what he truly believes. Is she being honest or is she playing him? Is he getting transfixed by Holmes, much like everyone else in her orbit did during the heyday of Theranos? Don’t forget that she was hailed as the world’s youngest billionaire and a business genius. And if you have any doubts as to her true motivations, you should really read more into her story.
And then there’s Billy, a character that would be a screenwriter’s dream if he was created on the page. But he is a real person, and a perfect match for Holmes. Two narcissists who believe they are the special ones. As you hear them talk on the phone to prospective investors for their new company, you will be shaking your head asking yourself how could they be doing this again? When Fielder pokes at the underlying business fundamentals of their new product, Billy shuts down the interview, leading Fielder to wonder where his film will go next, especially with Holmes headed to prison.
It’s worth noting that Fielder and Oppenheim (and their crew) filmed this movie over the course of three years in secret, with financing by A24. The co-directors were upfront with the studio, telling them that they weren’t even sure they would even have a movie when it was all said and done. Two years after Holmes began her sentence and with Fielder receiving no assistance from Billy to stay in touch with her, he reaches out to someone who might be able to assist him in completing the film. It was this point in You Can See Everything, where I could feel the entire audience moving forward in their seats, as you wonder where the hell this documentary is going next.
Now, I won’t spoil that individual, although by now you’ve probably seen stories about her on the internet. Her participation in the film was a bold choice by Fielder (and her) and I think it pays off in a marvelous way. The direction Fielder takes the story in the second half of the film proves that the documentary genre can be continuously reinvented by talented storytellers. If you are looking for a movie that will put a neat bow on the story of real individuals, this is not that movie. You Can See Everything will challenge you to examine what you’ve seen on screen over the course of three hours (that fly by for those worried about the long runtime) and ask yourself what you’ve really seen. Who is telling the truth? Who is lying? How do you even define what is the truth and what is a lie when you look at things from different perspectives? How can you trust what you are seeing when you are in the hands of a brilliant filmmaker? This is why You Can See Everything is the movie event of 2026 and one that has upended what a documentary film can truly be. See it for yourself to decide. You Can See Everything is now playing in theaters.
Back for Year Five
After having my mind blown by the talents of Fielder and Oppenheim, I shifted into Film Festival mode. This was my fifth year in attendance and I ran into a few people I have gotten to know over the last few years. It was great to catch up with them, compare movies that we loved (or didn’t) and discuss plans for the coming days. I also met several new people while waiting in line outside the theater. Which brings me to a funny story. On my second day, I was talking to a gentleman in front of me about how waiting in line reminded us of how we used to have to wait for a lot of things in the past. I referenced waiting for concert tickets and I mentioned how the night before while walking back to my hotel, I saw a bunch of twentysomethings waiting to get into a bar. “Who’s crazy enough to wait to get into a bar?” I asked myself, remembering that I would be waiting in line to get into a movie several times a day for the next five days. Hey, we all have our interests, right?
Suffice it to say, the Philadelphia Film Festival demonstrated that any talk of movies “dying” is 100% false. Almost every one of my screenings were at least 95% full throughout the week. The programmers noted that it was their biggest festival yet, and the excitement about the world of movies was palpable with everyone I talked with throughout my time there. Not just what was playing at the festival, but we discussed several promising films that will be coming out later this year. I also met someone who is competing in the Oscars Death Race, where movie lovers try to see all of the Oscar-nominated films as fast as possible, so when the nominees are announced, they have already seen everything nominated. It requires seeing a lot of movies in contention, and finding them early, which is why film festivals can be so important. I admire her determination – it’s nice to meet fellow movie psychos and it felt wonderful to be back amongst my people.
The Best of the Best
With that, here are seven movies that I saw at the festival that I recommend adding to your watchlist.
- Paper Tiger James Gray is one of our more talented writer-directors working today and he returns with a dynamite crime-thriller starring three Hollywood heavyweights. Adam Driver and Miles Teller play brothers who get involved with Russian gangsters while working on a money-making scheme, putting the family of Teller’s character (including his wife, played by Scarlett Johansson) in danger. Paper Tiger takes place in the 1980s but feels like a classic 1970s New York crime thriller. Look for Paper Tiger in theaters in late November.
- Behemoth! Pedro Pascal has been one of the more active stars working the last few years, but his recent films (Materialists, The Mandalorian and Grogu, The Fantastic Four: First Steps) have been relatively disappointing. In Behemoth!, he delivers his best performance yet as a cellist reflecting on the events of his life, while contributing to the score for a new film. Tony Gilroy (Michael Clayton, Andor) wrote and directed this wonderful portrait of a flawed individual, co-starring Olivia Wilde and Will Arnett, and featuring an incredible score from some of our finest composers working today. Behemoth! will be in theaters in December.
- La Bola Negra Netflix is pushing all of their Oscar chips to the center of the table with this picture that they acquired out of the Cannes Film Festival. Before our screening in Philadelphia, the Senior Director of Programming told us that La Bola Negra reminded him of how we thought of Oscar movies when he was growing up, epics like The English Patient, and when the credits rolled I wholeheartedly agreed. This 2½ hour story is told through three timelines and explores the lives of individuals living in Spain during particular tumultuous times in the country’s history. Many Oscar prognosticators are saying La Bola Negra has the best shot at beating The Odyssey for Best Picture. Netflix must agree because the studio is giving the film a 45-day theatrical window before it streams on the service in early December. La Bola Negra is a beautiful, sweeping epic worth adding to your watchlist.
- Minotaur The last film I saw during the festival was one of the strongest pictures I saw there. Minotaur is a retelling of a novel that was adapted into the terrific 2002 erotic thriller Unfaithful (with Richard Gere and Diane Lane) set in Russia in the early days of the Russian invasion of Ukraine. Our main character is a Russian intelligence operative who discovers his wife is having an affair, leading to devastating actions. This is a gripping thriller that is worth checking out when it releases in theaters later this year.
- Mouse One of my favorite movies of 2024 was Ghostlight, a beautiful story about a family dealing with grief. The directors of that film, Kelly O’Sullivan and Alex Thompson, are back with Mouse, another story of ordinary people dealing with life’s hard truths. I love movies where the characters feel real, talk like real people, and you can just lose yourself in the story without questioning why someone is “acting.” Mouse is exactly that kind of film – a tender, sweet, and occasionally sad story about people dealing with everyday problems. Look for Mouse in theaters in November.
- Tender Loving Care My second favorite movie of the festival is a wonderful British comedy-drama from Mike Leigh, considered one of England’s greatest directors. He is in his early 80s and has said that Tender Loving Care will probably be his last film and if it is, he is going out with a winner. This is the story of two women in their 30s who are dealing with everyday problems, but use their friendship and humor to keep going in life. One of the women (played by Widow’s Bay Kate O’Flynn in a magnificent performance) is also dealing with her aging parents. A story about how we have to appreciate all that we have as we get older, but sometimes life throws challenges at you that you can only endure with the love and support of family and friends. A film I truly adored, Tender Loving Care will be in theaters in December.
- Club Kid My favorite movie of the festival is a winning comedy-drama starring Jordan Firstman as Peter, a party promoter who spends his days and nights partying with his friends. His life experiences primarily consist of drinking, drugs, and dancing, enjoying the carefree life of a thirtysomething single man living in New York City. His life is turned upside down when he learns that he fathered a child ten years ago, and he is now responsible for his upbringing. Firstman is outstanding, as is Reggie Absolom as his son, in a touching drama that has a ton of funny laughs as we see Peter adjust to his new lifestyle. Firstman wrote and directed Club Kid, in his feature directorial debut, and has now put himself on the map as a filmmaker to watch in the future. Club Kid will be in theaters in November – seek it out as it’s a wonderful film.
That’s all for this week. I hope you enjoyed my look at some new releases and found some films to add to your watchlist for the coming months. I’ll be back next month for a look at some more new movies including Fjord, the controversial winner at the Cannes Film Festival, Godzilla Minus Zero, Oscar contender Wild Horse Nine, and much more. Thanks for reading and if you would like to be notified about future posts, you can subscribe below.