10/30-11/1: YOU CAN SEE EVERYTHING Climbs to #1 in a Slow Halloween Weekend
Halloween strangled the North American box office as studios held back on releasing any substantial new films and the well-reviewed documentary YOU CAN SEE EVERYTHING took the top spot with $10.6M in its third weekend. In fact, the top 10 films of the weekend were all holdovers. The highest-grossing new title was the Indian film AADARSHA KUTUMBAM HOUSE No: 47 from Shloka Entertainment which finished #12 with a meager $1.1M.
This continues an established pattern of studios avoiding Halloween weekend like the plague. It’s worth asking the question whether the Halloween holiday is incompatible with moviegoing or studios are not giving audiences anything worth seeing. We suspect that if AVENGERS: DOOMSDAY opened this weekend the box office picture would have been entirely different. We will never know since studio execs are not known for making bold choices on release dates, and heads would surely roll if a prime title were released around Halloween and it wound up not performing.
The weekend generated a total box office of $55.7M, compared to one year ago when Halloween fell on a Friday and total ticket sales came in at $57.4M. This halts a streak of six consecutive weekends and 11 of the last 13 with 2026 outselling the matching weekends in 2025.
Two worrying trends continued. The first is a pattern of steep second weekend drops for movies finishing in the top spot on their opening weekend. Over the last seven weekends, no #1 film has been able to hold onto first place in its second weekend. The following table shows these second weekend misfortunes.
SECOND WEEKEND DROPS BY FORMER FIRST PLACE FILMS OVER THE LAST SIX WEEKENDS
Next Friday’s openings of THE CAT IN THE HAT from Warner Bros. and GODZILLA MINUS ZERO from GKIDS should produce another winning weekend for 2026, with each film expected to gross more than $25M. Last year’s first weekend in November was led by the debut of PREDATOR: BADLANDS, which sold $40M in its opening, while all films in release took in $81.4M.
We feel comfortable that this one-weekend slip for 2026 will not have a meaningful effect on the year. The last four weeks show how 2026 has continued to outperform 2025, with box office revenues up 34% and attendance up by 30% over the same period last year.
THE LAST FOUR WEEKS – 2026 vs. 2025
#1 - YOU CAN SEE EVERYTHING
A24’s YOU CAN SEE EVERYTHING took over the top spot this weekend, earning $10.6M in its third weekend overall and its second weekend in wide release. This was a decline of 43% compared with last weekend. Its 17-day totals are $63.9M in the domestic market, with release dates coming in international markets throughout November. The film continues to move up the all-time chart of documentary films, now finding itself in ninth place not including concert films, even without any contribution so far from foreign markets.
TOP FIVE GROSSING DOCUMENTARY FEATURES (NON-CONCERT RELATED)
The A24 film has become one of 2026’s biggest moviegoing stories. The year has featured a few surprising hits, including OBSESSION and BACKROOMS, together with the massive blockbuster power of SPIDER-MAN: BRAND NEW DAY and THE ODYSSEY. Now comes a documentary, of all things, that has stolen the headlines and become both a huge financial success and a cultural touch point.
The movie has already delivered a very profitable 9-to-1 ratio of box office gross to its production cost of only $7M. It has provoked a discussion about whether viewers can trust Holmes, the filmmakers, or their own interpretation of what they are seeing in the film. This has become a mainstream conversation in offices, households, restaurants, and bars across North America. The film has even broken into the prediction markets, with Polymarket currently quoting odds of a Best Picture nomination at 77% and of actually winning the award at 17%.
The movie will continue to run up box office dollars throughout November when its foreign distribution kicks off. It will also continue to play across North America for the entire month, including over the lucrative Thanksgiving period. Here is where the film stands after 17 days in release, compared with FAHRENHEIT 9/11, highest-grossing non-concert documentary of all time.
YOU CAN SEE EVERYTHING vs. FAHRENHEIT 9/11 after 17 Days
#2 - CLAYFACE
Warner Bros. and DC’s CLAYFACE fell from first to second place in its second weekend, bringing in $10.4M and dropping a significant 57%. This brings its 10-day totals to $44.1M domestically and $83M globally. As we mentioned earlier, this makes CLAYFACE the latest movie victim of the recent string of sophomore slumps.
Warner Bros. had hoped for a much better hold, perhaps only dropping by no more than 40% in its second weekend, given the relatively weak competition for Halloween weekend. They had also hoped that the movie would attract some horror fans given the creepy special effects and makeup used on the face of its main character as he struggles with disfigurement. CLAYFACE was originally scheduled for a September release but moved to October 23rd to take advantage of Halloween. It was not evident that the film wound up benefitting from either of these factors.
We are projecting the film to wind up by earning around $65M domestically and $110M globally. Using the rule of thumb that a movie should gross 2.5 times its production budget to reach theatrical profitability, CLAYFACE would need to bring in $110M globally to break even and we now expect it to wind up with just about that total. The saving grace of the project is that the movie was made for only $44M, which is an exceptionally low budget for a feature from DC Studios. This allows the project to withstand the lower-than-expected box office numbers. Downstream revenues from merchandising, streaming and other sources will also be added to the balance sheet, making it a financially worthwhile project. However, both Warner Bros. and DC had hoped for more from the film, perhaps turning into a new superhero franchise. A possible foray into CLAYFACE 2 will be a tough call to make somewhere down the line.
CLAYFACE vs. SPLIT
#3 - WILDWOOD
WILDWOOD, released by Fathom Entertainment, finished in third place, bringing in $7.5M. This brings its 10-day totals to $25.9 domestically and $35.2M globally. As we highlighted last week, the film cost LAIKA Studios $100M to create. While the result may be an artistic triumph, its financials are considerably less encouraging. The global total after 10 days leaves no doubt that this film will be a substantial money loser. Beyond the cost of the film, its PG-13 rating has narrowed its appeal among families with younger children, placing greater importance on older audiences drawn to fantasy and animation.
The film enjoys exceptional reviews with some of the highest scores from Rotten Tomatoes ever, at 99% from critics and 97% from audiences. It was hoped that strong word of mouth would offer a path to higher grosses. The first ten days of box office are not showing a significant benefit from either its strong critics’ reviews or word of mouth among moviegoers.
For Fathom Entertainment, the film has been a winner. Because they are only responsible for distributing the film and not for its production budget, they have limited exposure to the downside of what it cost to make the movie. WILDWOOD has already become the second highest-grossing film in Fathom’s history, behind their CORALINE re-issue in 2024 that took in $34M. This has shown filmmakers that Fathom is not limited to being only a distributor of event cinema titles such as operas, symphonies, plays and boxing events. Fathom released WILDWOOD in 2,800 theatres and produced a reasonably strong box office result. No one can blame Fathom for the red ink that will certainly accompany the film.
The domestic grosses of WILDWOOD are in the same ballpark as those from LAIKA’s 2016 release with Focus Features of KUBO AND THE TWO STRINGS.
WILDWOOD vs. KUBO AND THE TWO STRINGS after 10 Days
#4 - WICKER
WICKER from Black Bear moved up from fifth place last weekend to fourth by taking in $4.1M and dropping 28%, less than any other top five pictures of the weekend. This brings the film’s 10-day total to $13.3M domestically and $16.4M globally.
The reaction to WICKER has been largely positive. Industry coverage sees an encouraging commercial start for Black Bear, while critics and audiences are responding to its combination of bawdy comedy and unexpectedly tender romance. Variety described its $5.75M opening from 1,471 theatres as a “strong start” for the low-budget independent film. Black Bear reportedly acquired the film’s domestic rights for $2.5M.
One common observation of the film is that it offers warmth and substance beneath the sexual jokes that the film’s marketing has emphasized. Rotten Tomatoes currently lists 94% positive reviews from 162 critics, averaging 7.6/10. Praise centers on Olivia Colman’s performance, the handcrafted appearance of Alexander Skarsgård’s character, and the film’s treatment of love, conformity and marital dissatisfaction.
The box office results for WICKER are running ahead of those from our comparison film LISA FRANKENSTEIN. After 10 days, WICKER has exceeded the total gross of LISA FRANKENSTEIN for its entire run. However, after only $4.1M this weekend, we do not believe that it has much grossing power remaining. It should be profitable from its theatrical run, while it expands its foreign footprint and pass the $25M target we estimated it would need to earn to get into the black.
WICKER vs. LISA FRANKENSTEIN after 10 Days
#5 - STREET FIGHTER
Sony’s STREET FIGHTER finished fifth in its third weekend, bringing in $3.2M and dropping 62%. The movie is shaping up to be a financial disappointment despite winning its opening weekend with a $30.8M debut. After that promising start, its second weekend plunged 72.1% to $8.6M, followed by weekend’s additional decline of 62%. This suggests that demand for the movie was limited to fans of the video game that inspired it, most of whom came out to see it right away.
The overseas performance has been one of the few bright spots for the picture. After 17 days, the reported international box office total is $38.9M, which is 42% of its total gross to-date. This is only slightly below the international gross for our comparison film MORTAL KOMBAT II, which earned just under $50M from its international sales. Its producers are left to wonder whether STREET FIGHTER is overperforming in foreign markets or underperforming in North America. The film’s $82M production budget translates to a target global box office of $205M to hit profitability.
Our assessment is that STREET FIGHTER will wind up losing money from its theatrical run, and need to rely on additional income from digital rentals, streaming deals and television licensing. A domestic finish around $60M and international sales of $105M looks plausible, given its current box office total and steep week-to-week declines. While additional post-release revenue streams can narrow the shortfall, it will not change the fact that this has not been a successful re-launch of the dormant franchise.
STREET FIGHTER vs. MORTAL KOMBAT II after 17 Days
Where Are We as of 10/29/2026
BOX OFFICE AND ATTENDANCE – 43 WEEKS YEAR TO DATE
