Right now there are almost twice as many movies scheduled for release in October as there are in November. The number is sure to deflate, but for the moment, distributors’ fear of November’s big releases has October packed to bursting, as this list shows. Clerks, a trophy winner at last winter’s Sundance Film Festival, chronicles the NC-17-rated (for now, at least) conversations of a mini-mart employee and his best friend, a video-store clerk. In Across the Moon, Christina Applegate and Elizabeth Pena become friends while their boyfriends are in jail. James Woods (below) and Kathy Bates play a dirt-poor couple who can’t stand their lives (or each other) in Curse of the Starving Class, based on the Sam Shepard play. Trailer-park snobbery keeps young lovers Martha Plimpton and Patrick McGaw apart in The Beans of Egypt, Maine. Louis Malle directs Vanya on 42nd Street, based on David Mamet’s gloss on Chekhov’s Uncle Vanya, with Julianne Moore, Wallace Shawn, and Brooke Smith. Cops Dan Aykroyd and Rosie O’Donnell go undercover at Dana Delany’s fantasy sex resort in Exit to Eden, a comedy about sexual experimentation. Squanto: A Warrior’s Tale celebrates the Native American warrior who survived slavery and shipwreck and went on to help the Pilgrims in Plymouth. Trolls with the voices of Dom De Luise and Cloris Leachman clash over the sanctity of trash in the animated A Troll in Central Park. When twentysomethings Stephen Dorff (right), Reese Witherspoon, and Jack Noseworthy get held hostage in a convenience store, their prevailing reaction to the ensuing media hype is S.F.W. (So F — -ing What). Little Giants pits Rick Moranis against Ed O’Neill as peewee-football coaches. A ruthless Linda Fiorentino scams her husband out of drug money and moves to a small town to begin a new, equally nasty life in The Last Seduction, by Red Rock West director John Dahl. Surviving the Game‘s Rutger Hauer and F. Murray Abraham reteam for Nostradamus, about the 16th-century French prognosticator (September release on the West Coast). Billed as the Chilean Dog Day Afternoon, Johnny 100 Pesos finds black comedy in the attention the South American media gave to a failed heist. In his only film appearance as an actor, the late Miles Davis jazzes up Dingo as a musical icon who inspires a boy living in the Australian outback.