By Emmanuel King
Halloween landed on a Saturday this year, and Hollywood mostly stayed home. With the majors sitting the weekend out and no big studio wide release on the calendar, the box office was left to holdovers, and the frame is tracking below last Halloween's $57.4 million all-film total. At the top, the strangest race of the fall is now settled: a three-hour documentary about Elizabeth Holmes beat Clayface in Monday's actuals, $11.44 million to $11 million.
You Can See Everything, from A24, won the weekend with $11.44 million for its third weekend. Its Sunday take of $4.296 million was up 19 percent over Saturday, making Sunday its biggest day of the weekend. Its Friday take of $3.56 million is the highest third Friday ever recorded for a documentary. Co-directed by Nathan Fielder and Lance Oppenheim, the film is playing in more than 3,200 theaters as word of mouth keeps building, at a three-hour running time that usually empties theaters instead of filling them. Its domestic total stands at $64.7 million, after two weekends spent in second place.
Clayface, the Warner Bros. and DC body horror film, finished second with $11 million for its second weekend. Its Sunday take of $3.4 million beat the $2.8 million the studio had expected, a better hold than Friday's early projections suggested. Its domestic total reaches $44.7 million. The final gap between first and second was $440,000.
Third place goes to Wildwood, Laika's stop-motion adventure released through Fathom, with $8.9 million for its second weekend, down 27 percent. Its domestic total stands at $27.3 million. For a handcrafted animated film, holding this well on a weekend owned by costumes and candy is its own kind of victory.
Wicker takes fourth as Black Bear widened the Olivia Colman and Alexander Skarsgård romance from 1,471 theaters to 2,374. It grossed $4.36 million for the weekend, pushing its ten-day total to $13.4 million. Street Fighter rounds out the top five with $3.2 million in its third weekend, for a domestic total of $53 million, a steep fade from its $31 million opening. Just below the top five, the BTS concert event World Tour ARIRANG is estimated at about $3 million after actually out-grossing Wicker and Street Fighter on Friday alone, and Sony Classics' The Only Living Pickpocket in New York expanded wide to an estimated $2 million, carrying a 97 percent critics score on Rotten Tomatoes.
The weekend's one notable new wide release landed as the frame's clear flop. Christmas at the Kringles, Briarcliff Entertainment's indie holiday slasher from director Kevin Lewis, opened in 1,825 theaters and is estimated at only about $700,000 for the weekend, roughly $384 per screen. That is far below the low single digits expected on Friday, and its cast of comedy veterans, Ron Livingston, Rob Riggle and Rachel Bilson among them, worked against a 0 percent critics score on Rotten Tomatoes.
The milestone underneath the chart matters more than the ranking. You Can See Everything reached $52.7 million domestic in its first 14 days, a final figure, passing the $52.5 million lifetime total of Hubble 3D. Among documentaries that are not nature films or concert films, only Fahrenheit 9/11, at $119.1 million, has ever earned more in North America. The film was made in secret over three years for about $7 million, with marketing under $10 million, and about 70 percent of its audience is under 35.
For the record, last weekend's numbers are now final, and they set up everything above: Clayface opened in first place with $24.0 million, You Can See Everything took second with $19.5 million in its second weekend, and Wildwood debuted in third with $12.3 million. All three figures are final actuals, not estimates.
WHAT IT MEANS FOR ACTORS
Start at No. 2, with the premise that has powered this stretch of the chart. In Clayface, Tom Rhys Harries plays Matt Hagen, a rising actor disfigured by a mobster, a man whose face is not vanity but livelihood. Harries won the part the slow way, through three months of auditions and two long screen tests, and the film's hold near the top of the chart is a verdict on that performance as much as on the DC logo above the title.
Wildwood makes the same argument in a recording booth. Stop-motion gives its performers nothing to hide behind, and Laika built the film on voices: Carey Mulligan and Mahershala Ali leading a cast that includes Awkwafina, Angela Bassett, Jake Johnson, Tom Waits, Richard E. Grant and Charlie Day. Its weekend, in the end, is audiences paying to hear actors act.
And then there is the No. 1 film: three hours long, no stars in the traditional sense, leading the weekend on the strength of its subject's performance. Elizabeth Holmes spent the 34 days before reporting to prison in front of these cameras, and audiences cannot stop watching her perform herself, opposite Nathan Fielder's deadpan. The lesson for actors is plain: the performances people keep talking about are carrying films of every size.
Source: Deadline Monday box office reporting, November 2, 2026, and Variety Monday box office update, November 2, 2026.