Just when you thought you’d seen everything… A three-hour documentary (in its second weekend of release) has earned almost as much as a new comic-book adaptation at the domestic box office. Although Warner Bros. and DC’s R-rated “Clayface” was comfortably at No. 1 with $24 million from 3,458 North American theaters in its debut, A24’s buzzy Elizabeth Holmes doc “You Can See Everything” was surprisingly close after defying box office expectations again. The stranger-than-fiction film collected a spectacular $19.5 million while expanding to 2,655 venues in its sophomore outing.
Ticket sales for “You Can See Everything” are 28% above its launch of $15.6 million from 855 theaters, which marked the best start for a nonmusical documentary in 20 years. So far, the Nathan Fielder and Lance Oppenheim-directed movie has earned a remarkable $45.1 million domestically to date. After capturing the zeitgeist and selling out screenings across the country, awards sages are predicting it could become the first documentary to ever score a best picture nomination at the Oscars.
The antihero adaptation earned another $19 million overseas from 76 markets for a global tally of $43 million. Along with a positive reception, the film seems well-positioned theatrically because it cost just $44 million to produce. That’s a way smaller budget compared to DC’s other recent tentpoles, including this July’s “Supergirl” and 2025’s “Superman.” Although “Superman” was a decent hit with $618 million against a $225 million budget, “Supergirl” was a setback for the newly relaunched comic book studio after bombing with $126 million against a $170 million budget.
DC wanted to keep costs low on “Clayface” because it’s a body-horror thriller that’s much darker than those family friendly adventures. Directed by James Watkins, “Clayface” follows the titular Batman villain, a rising movie star who volunteers for a highly experimental medical procedure after his face is severely disfigured. Audiences enjoyed the film, which holds an “A-” grade on CinemaScore exit polls.
Gross, who publishes the box office newsletter FranchiseRe. It’s a promising start for original animation, which has been challenged in the years following the pandemic. And “Wildwood” has the benefit of sterling reviews (a rare 100% on Rotten Tomatoes) and audience scores (an “A” grade on CinemaScore exit polls), which should help the film stick around beyond its opening weekend.
However, this movie carries a hefty $100 million price tag (stop-motion animation is labor intensive and takes years to produce) and likely won’t turn a theatrical profit. The movie hails from Laika Studios, best known for making the 2009 stop-motion fantasy “Coraline.” This is the company’s first release since 2019’s “Missing Link,” which opened to $6 million from 3,413 theaters and ended its run with $26 million globally. Black Bear acquired the well-reviewed movie after Sundance for $2.5 million.
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