Here’s every movie coming to Netflix in October (thread):
THE GUILTY
(On Netflix October 1)
A troubled 911 operator (Jake Gyllenhaal) scrambles to save a distressed caller during a harrowing day of revelations — and reckonings.
DIANA: THE MUSICAL
(On Netflix October 1)
The dazzling and devastating life of Princess Diana (@thebigdewaal) takes center stage in this original musical, filmed in advance of its official Broadway opening.
FOREVER RICH
(On Netflix October 1)
A rising rap superstar spirals out when a humiliating video goes viral and pushes him into a battle for redemption — over the course of one long night.
SWALLOW
(On Netflix October 1)
Waylaid by life's pressures in 1980s Lagos, Nigeria, Tolani (@iamniyola) becomes involved in drug smuggling with her streetwise friend and must face the fallout.
THE SEVEN DEADLY SINS: CURSED BY LIGHT
(On Netflix October 1)
Meliodas and his friends jump back into action when the new era of peace is threatened by a powerful magical alliance that could spell the end for all.
ESCAPE THE UNDERTAKER
(On Netflix October 5)
Can @WWEBigE@TrueKofi and @AustinCreedWins survive the surprises at @Undertaker’s spooky mansion? It’s up to you to decide their fate in this interactive WWE-themed special.
THERE'S SOMEONE INSIDE YOUR HOUSE
(On Netflix October 6)
Makani (@iamsydneypark) and her friends at Osborne High School try to identify and stop a masked killer who's targeting students and exposing their biggest secrets.
GRUDGE
(On Netflix October 8)
Ahead of a promotion, a police chief becomes embroiled in a fatal incident and uncovers a grudge-fueled plot that threatens his associates.
MY BROTHER, MY SISTER
(On Netflix October 8)
When their father's will forces them to live together, siblings Nik and Tesla — and Tesla's kids — try to overcome their differences to become a family.
FEVER DREAM
(On Netflix October 13)
The charged relationship between two young moms — one a visitor (@mariavalverde) and the other a local (@fonzidolores) — reveals a looming environmental catastrophe and a spiritual crash.
A WORLD WITHOUT
(Coming soon to Netflix)
Three spirited teenage girls join a self-improvement program that forces them into heartbreaking choices.
ONE NIGHT IN PARIS
(On Netflix October 14)
Mixing sketches with rapid-fire sets, this special brings together top comedians from France's stand-up scene as they explore life during the pandemic.
THE FORGOTTEN BATTLE
(On Netflix October 15)
During WWII's crucial Battle of the Scheldt, the lives of a glider pilot, a Nazi soldier and a reluctant Resistance recruit tragically intersect.
THE FOUR OF US
(On Netflix October 15)
After their partner swap experiment takes a turn, four friends arrive at a remote beach hut to face the fallout and purge themselves of deeper truths.
THE TRIP
(On Netflix October 15)
Eager to end their marriage by murdering each other, a husband (Aksel Hennie) and wife (Noomi Rapace) head to a remote cabin — but soon find themselves facing an even bigger threat.
IN FOR A MURDER
(On Netflix October 19)
A stay-at-home mom and avid reader of crime stories discovers the deepest secrets of a small town's residents while investigating a woman's murder.
NIGHT TEETH
(On Netflix October 20)
A young driver (@JorgeLendeborg) picks up two mysterious women (@debbyryan@lucyfry) for a night of party hopping. But when his passengers reveal their true nature, he must fight to stay alive.
STUCK TOGETHER
(On Netflix October 20)
When Paris goes into lockdown during the pandemic, the quirky residents of an apartment building must adjust to a new life — and one another.
LITTLE BIG MOUTH
(On Netflix October 22)
A 9-year-old boy living with his mom and granddad has his life upended when a rock guitarist enters their world.
HYPNOTIC
(On Netflix October 27)
Feeling stuck both personally and professionally, a woman (@k8siegel) turns to a mysterious hypnotherapist (@jason_omara) for help, only to find herself caught in a deadly mind game.
NOBODY SLEEPS IN THE WOODS TONIGHT PART 2
(On Netflix October 27)
The sequel to 2020's horror film introduces new characters and frights.
ARMY OF THIEVES
(On Netflix October 29)
In this prequel to @ZackSnyder’s ARMY OF THE DEAD, bank teller Dieter (@MSchweighoefer) is recruited to assist in a heist of impossible-to-crack safes across Europe.
DEAR MOTHER
(On Netflix October 29)
When Jean-Louis' (Laurent Lafitte) heart stops beating, he must confront his Oedipal issues — and ask his mother a delicate question — or he'll be dead in three days.
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Mark your calendars for the Netflix Films coming through the end of the year (thread)
AFTERLIFE OF THE PARTY (Sept 2)
A social butterfly (Victoria Justice) experiences the biggest party foul of all—dying. But she's given a second chance to right her wrongs on Earth by proving she’s worthy enough to get into the big VIP room in the sky.
WORTH (Sept 3)
An attorney (Michael Keaton) learns a lesson in empathy when he’s faced with the near-impossible task of determining how to compensate families who suffered incalculable losses as a result of the September 11th attacks. Based on true events.
Throughout Joe Wright’s THE WOMAN IN THE WINDOW, Amy Adams’ character Anna Fox watches dozens of films from the ‘40s and ‘50s. Here’s a breakdown of all the classic movie references (thread)
First is Alfred Hitchcock’s REAR WINDOW (1954), from which Wright’s film borrows its central premise as well as stylistic cues.
Anna also watches — while reciting all of the lines to — Otto Preminger’s LAURA (1944). One of the most beloved noirs of all time, Preminger’s film about a hard-boiled detective foreshadows the murder mystery to come in THE WOMAN IN THE WINDOW.
The story of crack cocaine in the US is riddled with mistruths. Stanley Nelson’s new doc CRACK: COCAINE, CORRUPTION & CONSPIRACY explores disinformation and exaggeration surrounding the drug's legacy.
Here are 4 things to know (thread):
Black Americans were disproportionately jailed for crack. Although two thirds of crack users were white, no white person was convicted of a federal crack-related offense in LA between 1998 and 1994. Meanwhile, Black incarceration rates increased exponentially.
The media often portrayed Black users as criminals, not as people in dire need of help. Catchy, provocative headlines about Black mothers paired with images of Black children led to a false notion that there was an epidemic of “crack babies.”