A24’s Elizabeth Holmes documentary “You Can See Everything” and DC’s comic book adaptation “Clayface” are vying for the top spot at the domestic box office, with each film on track to gross about $10.5 million over the weekend.
Although it’s a close match, “You Can See Everything” has a slight edge with $10.6 million while expanding to 3,242 theaters in its third frame, while “Clayface” seems close behind with $10.4 million from 3,478 theaters in its second release, according to estimates from the respective studios. (Final results will be announced Monday.) “You Can See Everything” is already a winner at the box office, but it would be quite an accomplishment for the nonfiction film to climb to No. 1 in its third weekend in theaters.
“This is a rare feat for a film, let alone a documentary lasting more than three hours,” says Paul Dergarabedian, market trends manager at Rentrak.
All in all, it was another painfully slow Halloween for theater owners, lacking any new features, as well as the misfortune of the holiday landing on Saturday. When Halloween coincides with the weekend, families prefer to go gift-giving rather than visiting their local multiplex. Revenue between Friday and Sunday was about $60 million, marking one of the slowest weekends of the year, according to Rentrak. However, that’s an improvement over the 2025 Halloween weekend, which brought in $49 million for all films, led by the Colleen Hoover adaptation “Regretting You” and “Black Phone 2.”
“With costume parties, trick-or-treating and countless other Halloween activities, theaters faced some pretty stiff competition for people’s time and attention,” Dergarabedian says.
“You Can See Everything” was the breakout hit of the fall season, grossing $63.88 million domestically to date. It has not yet released at the international box office. With euphoric word of mouth and repeat viewings from audiences trying to understand this stranger-than-fiction film, “You Can See Everything” is expected to leave theaters as one of the greatest documentaries in decades. And it will be very profitable for A24, which produced the nearly three-hour film for $7 million.
“Clayface,” an R-rated origin story about the Batman villain, generated $44.1 million in North America and $83 million worldwide. This is shaping up to be a modest victory for DC, which cost just $44 million to produce. That’s a much more modest price tag than other recent DC mainstays, like last year’s $225 million-budgeted “Superman” and July’s $175 million-budgeted “Supergirl.” The studio spent less on “Clayface” because the story is much darker than those family adventures and because the character isn’t as well known as some of the company’s superheroes. DC’s upcoming big-screen projects will feature some big-name names with next summer’s “Superman: Man of Tomorrow” and 2028’s “The Batman: Part II,” helmed by Robert Pattinson.
“Wildwood,” Laika’s stop-motion animated fantasy film, remained in third place with $7.5 million in its second release, a drop of 39 percent. So far, the well-reviewed film has grossed $25 million domestically and $35 million worldwide. Since “Wildwood” has a massive production budget of $100 million (stop-motion animation is labor-intensive and can take several years to produce), the film likely won’t turn a profit when it hits theaters.
Fourth place went to Black Bear’s offbeat romantic comedy “Wicker,” with $4.1 million from 2,374 theaters in its second weekend, down just 28% from its debut. The film has grossed $13.2 million domestically to date, a solid number considering the low-budget project was acquired by Black Bear after Sundance for $2.5 million.
Paramount’s video game reboot, “Street Fighter,” rounds out the top five with $3.2 million in its third frame, another sharp drop of 63 percent. The film grossed $53 million in North America and $91.9 million worldwide. Although “Street Fighter” is nearing the $100 million mark, it’s no closer to breaking even or going into the black. Legendary video game developer Capcom co-financed “Street Fighter” for $82 million, and theater owners keep about half of the ticket sales.
Elsewhere, Sony did not announce revenue for the Jenna Ortega-directed literary adaptation, “Klara and the Sun,” during what would have been the film’s second weekend of release. The film flopped upon its premiere with $720,000 from 880 locations. The studio reduced the theatrical footprint after critics derided the film as “calamitous” and “terribly awful”. Director Taika Waititi has claimed he doesn’t read reviews, but in a recent social media post he called critics of his work “sad lost souls who couldn’t realize their dream of becoming artists.” The film cost $20 million and will end in the red for Sony. It’s the studio’s second consecutive misfire after Aaron Sorkin’s “The Social Reckoning,” which left theaters with a paltry $9 million in North America and $17 million worldwide, against a budget of $30 million. Fortunately, the studio’s losses on those films will be cushioned by two big winners, “Spider-Man: Brand New Day” (the third-biggest film ever with $2.5 billion) and Zach Cregger’s reboot of “Resident Evil” ($400 million).
In limited release, Sony Pictures Classics’ crime thriller “The Only Living Pickpocket in New York” cracked the top 10 with $2 million from 1,112 theaters. John Turturro’s Hope for Reward play revolves around a master pickpocket who struggles to keep up with the changing times – phones are trackable, wallets rarely contain cash, and guns hide in plain sight.
Meanwhile, Netflix’s Oscar contender “La Bola Negra” added $418,000 from 38 theaters. So far, the generation-spanning queer drama has grossed $1.2 million as the streamer rolls out the film at a glacial pace. Also this weekend, Netflix released Peter Berg’s war drama “The Mosquito Bowl,” which grossed $455,000 from 349 locations — a much larger footprint than “La Bola Negra.”
Gn entert
