Director Kitao Sakurai‘s live-action Street Fighter movie might’ve made the perfect start to box office life last weekend, but poor reviews and word-of-mouth saw the film drop significantly in its second weekend. Over the past couple of days, Street Fighter struggled to maintain its early success by losing 72% of its first weekend audience. An $8.6 million domestic haul pales in comparison to its $30 million opening, and leaves the film in a perilous position should it hope to return double its $82 million budget.
Street Fighter‘s place atop the domestic box office charts was taken by Clayface. DC’s new body horror gem that is directed by James Watkins and co-written by the modern master of Halloween, Mike Flanagan. The documentary everyone is talking about, You Can See Everything, used its viral success to increase in ticket sales on its second weekend, proving just how important a glowing reception can be. But the success story from last weekend that no one is talking about is Wicker, a new NSFW fairytale based on the short story The Wicker Husband by Ursula Wills.
Despite opening against tough competition and in fewer theaters than the rest of the top ten, Wicker finished fifth in the box office ranks last weekend with a total haul of $5.75 million. This bonkers, hilarious, and surprisingly heartfelt tale stars Academy Award winner Olivia Colman, Alexander Skarsgård, Peter Dinklage, and Elizabeth Debicki, and is written and directed by Alex Huston Fischer and Eleanor Wilson. The movie received lots of praise coming out of its festival debut, including from Collider’s Therese Lacson, who called it “an immensely entertaining watch” and “a fun and quirky story about love and overcoming loneliness” in her review.
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.
Olivia Colman Stars in Another 2026 Festival Favorite
Colman is one of the busiest actors working today, and Wicker isn’t the only festival favorite from 2026 of hers that you should have your eye on. Colman also features as Margaret Johnson in Elsinore, which premiered at the 53rd Telluride Film Festival on September 4 and has since captured some Oscars buzz. This buzz has mainly gone the way of star Andrew Scott, whose performance as a man playing Hamlet during the final months of his life left critics in awe.
Stay tuned to Collider for the latest box office news.
Release Date
October 23, 2026
Runtime
105 minutes
Director
Eleanor Wilson, Alex Huston Fischer
Writers
Eleanor Wilson, Alex Huston Fischer
Producers
Brad Zimmerman, Brent Stiefel, David Michôd, Ed Sinclair, Justin Lothrop, Lia Buman, Olivia Colman, Ryan Heller, Tim Headington, Tom Carver
