Opposing fortunes befell the two big new arrivals this weekend at the box office. The Social Reckoning, the continuation of the beloved 2010 film The Social Network, flopped in its opening frame, earning around $6 million, far short of its $40 million budget so far. On the other hand, Rob Savage‘s Other Mommy, a brand-new horror starring Academy Award winner Jessica Chastain, fought off terrible reviews to score an impressive $27.5 million domestic return in its opening weekend. So, with the box office taken care of, let’s turn attention to what you should watch this week. Without further ado, here’s a list of three movies you should stream on Netflix.
Disclaimer: These titles are available on US Netflix.
1
‘The Prestige’ (2006)
Rotten Tomatoes: 77% | IMDb: 8.5/10
If you were one of the many millions who indulged in Christopher Nolan‘s ambitious historical epic The Odysseythis summer, then don’t miss out on one of the director’s most underrated movies, which is new to Netflix this October. The Prestigestars Christian Bale and Hugh Jackmanas rival Victorian London magicians who will stop at nothing to derail the other’s career with the greatest trick ever performed.
As any great magic trick should, Nolan’s The Prestige has you hanging on every word before pulling the rug from beneath your feet with several jaw-dropping twists. This immersive steampunk-style period drama features an unmissable story told by acclaimed actors, with Bale and Jackman joined by the likes of Scarlett Johansson, Rebecca Hall, Michael Caine, and even music icon David Bowie.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
2
‘Twilight’ (2008)
Rotten Tomatoes: 48% | IMDb: 5.4/10
If you want to celebrate spooky season but aren’t a fan of horror, then why not taste the blood of this iconic modern franchise starter? Added to Netflix this month, Twilight, an adaptation of Stephanie Meyer‘s 2005 novel of the same name, follows the new girl in town, Bella (Kristen Stewart), as she starts at a new school and falls in love with the mysterious Edward (Robert Pattinson), a 108-year-old vampire posing as a high schooler.
With the entire Twilight franchise added to Netflix this month, there’s plenty more blood-sucking, coming-of-age chaos for you to try should you love this original. The film received mixed reviews from critics, but crucially, it impressed those who loved the source material, even if Stewart and Pattinson were the subject of much negative attention. Both have since revitalized their careers impeccably, and, with Netflix developing an animated Twilight reboot of sorts, the fun is only just beginning.
3
‘Hamnet’ (2025)
Rotten Tomatoes: 86% | IMDb: 7.8/10
It isn’t just spooky season for film fans; festival season is now fully underway, with rumors beginning to swirl as early Oscars predictions pick up steam. In the spirit of the upcoming awards season, don’t miss one of the best awards darlings of the past 12 months on Netflix. The Chloé Zhao-directed Hamnet follows Agnes (Jessie Buckley) and her husband William Shakespeare (Paul Mescal) as their lives are turned upside down by a tragic loss.
Called “one of the year’s best movies” in Ross Bonaime’s official review for Collider, this adaptation of Maggie O’Farrell‘s 2020 novel is sure to break your heart. The film earned an impressive eight Academy Award nominations earlier this year, with Buckley winning in the Best Actress category for a performance that is sure to stand the test of time and is already considered one of the finest of the decade so far.
