US — ‘You Can See Everything’ Edges Ahead of ‘Clayface’ in $10.5 Million Box Office Battle During Slow Halloween Weekend
A24’s documentary about Elizabeth Holmes, ‘You Can See Everything’, and DC’s comic book adaptation ‘Clayface’ are competing for the top position at the US box office, with both productions expected to generate approximately $10.5 million over the weekend.
The race remains close, although ‘You Can See Everything’ currently holds a narrow advantage. Studio estimates put its weekend earnings at $10.6 million after expanding to 3,242 theatres in its third weekend. ‘Clayface’, meanwhile, is projected to collect $10.4 million from 3,478 locations during its second weekend. Final figures are expected to be confirmed on Monday.
‘You Can See Everything’ has already established itself as a commercial success, but reaching the No. 1 position during its third weekend in cinemas would be an unusual accomplishment, particularly for a documentary.
“That’s a rare achievement for any film, let alone a documentary running more than three hours,” says Rentrak’s head of marketplace trends Paul Dergarabedian.
The wider theatrical market experienced another disappointing Halloween weekend, with cinema operators struggling to attract audiences amid a lack of new releases. The holiday also fell on a Saturday, encouraging families to prioritise trick-or-treating and other celebrations instead of visiting movie theatres.
According to Rentrak, total box office revenue between Friday and Sunday reached approximately $60 million, making it one of the weakest weekends of the year. Nevertheless, the result improved on Halloween weekend in 2025, when all films combined generated $49 million. That weekend was led by Colleen Hoover adaptation ‘Regretting You’ and ‘Black Phone 2’.
“With costume parties, trick-or-treating and countless other Halloween activities, theatres were facing some pretty stiff competition for people’s time and attention,” Dergarabedian says.
‘You Can See Everything’ has emerged as one of the fall season’s biggest breakout successes, accumulating $63.88 million domestically so far. The documentary has not yet opened in international markets.
Strong audience recommendations and repeat visits have helped sustain its performance, particularly among viewers returning to make sense of the unusual true story portrayed in the film. The production is expected to leave theatres as one of the most successful documentaries in decades.
The film also represents a potentially substantial financial success for A24, which produced the nearly three-hour documentary for $7 million.
Meanwhile, ‘Clayface’, an R-rated origin story centred on the Batman villain, has collected $44.1 million in North America and $83 million worldwide.
The film is developing into a modest commercial success for DC, especially considering its production cost of just $44 million. Its budget is considerably smaller than those of other recent DC releases, including last year’s $225 million ‘Superman’ and July’s $175 million ‘Supergirl’.
DC kept production spending relatively low because ‘Clayface’ takes a considerably darker approach than its family-oriented superhero films. The character also lacks the widespread recognition enjoyed by some of the company’s leading superheroes.
The studio’s upcoming major theatrical releases will feature more established characters, including next summer’s ‘Superman: Man of Tomorrow’ and 2028’s ‘The Batman: Part II’, starring Robert Pattinson.
Laika’s stop-motion animated fantasy ‘Wildwood’ retained third place, bringing in $7.5 million during its second weekend. That represented a 39% decline from its opening performance.
Despite positive reviews, the film has so far earned $25 million domestically and $35 million globally. Its prospects for theatrical profitability remain challenging because of its substantial $100 million production budget. Stop-motion animation requires extensive labour and can take several years to complete.
Black Bear’s unconventional romantic comedy ‘Wicker’ secured fourth place with $4.1 million from 2,374 theatres in its second weekend. Its revenue declined by only 28% compared with its debut.
The film has accumulated $13.2 million in the US, representing a respectable result for a relatively inexpensive production that Black Bear acquired for $2.5 million following Sundance.
Paramount’s video game adaptation reboot ‘Street Fighter’ completed the top five, collecting $3.2 million during its third weekend. Its earnings fell another 63%.
The film has generated $53 million in North America and $91.9 million worldwide. Although its global total is approaching $100 million, it remains far from recovering its production expenses.
Legendary and video game developer Capcom jointly financed the $82 million production. However, movie theatres retain approximately half of ticket revenue, making it more difficult for the film to reach profitability.
Elsewhere, Sony did not provide box office figures for ‘Klara and the Sun’, the literary adaptation starring Jenna Ortega, during what would have been its second weekend in cinemas.
The film suffered a disastrous opening, generating just $720,000 from 880 locations. Following a wave of negative reviews, the studio reduced its theatrical distribution.
Critics described the movie as “calamitous” and “confoundingly awful”. Director Taika Waititi previously said he does not read reviews, but recently criticised those who had criticised his work.
In a social media post, Waititi described his critics as “sad lost souls who couldn’t achieve their dreams of becoming artists.”
With a production budget of $20 million, ‘Klara and the Sun’ is expected to result in a financial loss for Sony.
The disappointment marks the studio’s second consecutive theatrical setback, following Aaron Sorkin’s ‘The Social Reckoning’. That film finished its theatrical run with just $9 million in North America and $17 million worldwide, against a $30 million production budget.
However, Sony’s overall financial position will receive support from two major successes: ‘Spider-Man: Brand New Day’, which became the third-biggest movie ever with $2.5 billion, and Zach Cregger’s ‘Resident Evil’ reboot, which generated $400 million.
In limited theatrical distribution, Sony Pictures Classics’ crime thriller ‘The Only Living Pickpocket in New York’ entered the top 10 after earning $1.7 million from 1,112 theatres.
The film has collected $2.1 million following its first weekend in limited release. John Turturro stars in the awards hopeful, which follows an experienced pickpocket struggling to adapt to a changing world where phones can be tracked, wallets rarely contain cash and guns are increasingly concealed in plain sight.
Meanwhile, Netflix’s Oscar contender ‘La Bola Negra’ added $418,000 from 38 theatres.
The queer drama, which spans multiple generations, has accumulated $1.2 million as the streaming company continues its gradual theatrical rollout.
Netflix also debuted Peter Berg’s war drama ‘The Mosquito Bowl’ over the weekend. The film earned $455,000 from 349 locations, giving it a considerably broader theatrical release than ‘La Bola Negra’.
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