You Can See Everything Tops Halloween Weekend: 11 Box Office Takeaways From 30 October to 1 November

By the Filmoria News Desk

A24’s Elizabeth Holmes documentary You Can See Everything was No. 1 at the North American box office on Halloween weekend, 30 October to 1 November 2026, with an estimated $10.6 million from 2,655 cinemas, just $200,684 ahead of DC Studios’ Clayface on $10.4 million. It’s the film’s first weekend at the top, in its third week on release, and it lifts its domestic total to about $63.9 million against a reported $7 million budget. UK audiences can see it from 20 November 2026, when A24 releases it in UK and Irish cinemas itself.

UK and Ireland box office top 10, 23 to 25 October 2026

Source: Comscore, via the Film Distributors’ Association UK and Ireland top 15 and 25th Frame. “Not confirmed” means the distributor wasn’t listed in the published chart we could verify.

This is a ranked list of the 11 biggest takeaways from the North American box office weekend of 30 October to 1 November 2026, with the latest confirmed UK and Ireland chart alongside it.

We ordered it by what each story says about the business: the No. 1 film and the race for the top come first, then the documentary records, then the rest of the chart by weekend gross, and finally the UK picture. Every dollar figure is a Sunday studio estimate as reported by the Associated Press, Deadline, TheWrap and IndieWire, so small changes are likely when Monday’s actuals arrive.

1. You Can See Everything (2026, A24)

What makes it stand out: A three-hour documentary about a convicted fraudster is the most popular film in North America on the weekend Hollywood normally hands to horror.

Key data: An estimated $10.6 million from 2,655 cinemas in its third weekend, an average of roughly $3,990 per site, for a domestic total of about $63.9 million against a reported production cost of around $7 million.

Why it matters: It’s the first time this film has topped the chart, and it did it in week three, the point at which most releases are fading, not rising.

You don’t often get to write that a documentary won the weekend. Nathan Fielder and Lance Oppenheim’s film follows Elizabeth Holmes and her partner Billy Evans through the 34 days before she began her prison sentence in 2023, and it runs about 174 minutes. On paper, that’s a hard sell. In practice, it’s become the autumn’s water-cooler film.

The run so far has been remarkable. It opened on 16 October with about $15 million from just 855 cinemas, which we covered in our Street Fighter and You Can See Everything box office takeaways. Then, instead of dropping, it went up. A24 widened it to 2,655 locations for its second weekend and it took about $19.5 million, a 25% rise, finishing second behind Clayface by a few million dollars.

This weekend it finally got past. Holding its cinema count at 2,655 rather than pushing wider, it did enough to beat a DC film playing in more locations. TheWrap’s early Saturday read had it narrowly ahead, and Sunday’s estimates kept it there.

The economics are what make other studios sit up. A film reported to have cost about $7 million has made roughly nine times that in North America in 17 days, and it hasn’t opened in the UK or most of the world yet. Very few releases in 2026 can say that, at any budget.

2. The Race for No. 1 (2026, A24 vs Warner Bros.)

What makes it stand out: The gap between first and second is about the price of a few thousand cinema tickets, and the two studios don’t agree on who won.

Key data: You Can See Everything at $10.6 million, Clayface at $10.4 million, a margin of $200,684 on Sunday estimates; Warner Bros. is officially calling Clayface the No. 1 film.

Why it matters: Monday’s actuals will settle it, and being able to say “No. 1 film in America” is worth real money in a film’s marketing.

Deadline described it as a staring contest, and that’s about right. Different outlets reported the order differently through the weekend. Deadline’s Halloween-day update had Clayface ahead on Saturday alone, with $4.2 million against $3.58 million for the documentary. Over the full three days, though, the studio estimates put A24’s film in front.

That’s why Warner Bros. hasn’t conceded. Sunday estimates are projections of how Sunday will finish, made before Sunday has finished. On a Halloween weekend, when trick-or-treating and parties pull people away from cinemas on Saturday night, the shape of each film’s weekend is harder than usual to predict. A $200,684 gap can vanish once the real figures come in.

Whoever ends up first, both films have reason to be pleased and reason to be nervous. For A24, a No. 1 finish is a marketing gift heading into the documentary’s international rollout. For Warner Bros., a second-weekend win would let Clayface keep the “No. 1” label in its ads at a point where the film needs every bit of momentum it can find.

Gold Derby called it a rematch, and it is. The same two films finished first and second a week earlier, in the opposite order, with Clayface on about $24.5 million and the documentary on $19.5 million. Seven days later, they’re separated by less than 2%.

3. You Can See Everything in Documentary History (2026, A24)

What makes it stand out: It’s climbing an all-time chart that has barely moved in two decades.

Key data: About $63.9 million domestically, which Rotten Tomatoes’ weekend report puts sixth among all documentaries in US and Canadian history, and an opening of about $15 million, second only to Fahrenheit 9/11’s $23.9 million among non-music documentaries.

Why it matters: Documentaries have had a rough time in cinemas for years, and this is the biggest proof in a long while that the right one can still play like a studio release.

The AV Club described the film as making box office history at an extraordinarily tough time for documentaries, and that context matters. For most of the last decade, nonfiction films have gone to festivals, then straight to streaming. A theatrical gross of $5 million or $10 million counted as a hit.

The records have come quickly. TheWrap reported the opening as the biggest documentary start of any kind since One Direction: This Is Us in 2013. The Hollywood Reporter noted that no film had opened that big from fewer than 1,000 locations since Borat in 2006. Several outlets now describe it as the highest-grossing film of its type, a documentary that’s partly about its own making, by a distance.

The all-time list it’s climbing includes concert films, which have always done better than issue documentaries in cinemas. That’s why it’s sixth overall rather than higher. Michael Moore’s Fahrenheit 9/11 remains the benchmark for a non-music documentary, with about $119 million in North America in 2004. You Can See Everything is a little over halfway there.

How did A24 do it? Deadline and TheWrap both point to secrecy. The film was kept under wraps until a surprise screening at Telluride in September, leaving the studio about five weeks to sell it. Audiences responded as if it were an event, buying tickets early so they could see it before the internet spoiled it.

4. The $100 Million Question (2026, A24)

What makes it stand out: A week ago, a nine-figure run looked possible; after this weekend’s drop, it looks a lot harder.

Key data: The weekend gross fell from about $19.5 million to $10.6 million, a drop of roughly 45%, after TheWrap’s analysis said a third weekend of at least $15 million would put $100 million firmly in range.

Why it matters: Only Fahrenheit 9/11 has cleared $100 million domestically among documentaries that aren’t concert or nature films.

After the second weekend, TheWrap ran the numbers on how the film could crack $100 million. The key was the third frame: hold at $15 million or more, and the maths worked. It came in well below that.

A 45% fall isn’t bad, by the way. For a film that’s been on release for three weeks and wasn’t adding cinemas, it’s a respectable hold. It’s just not the extraordinary, rising curve of the first two weekends, and Deadline’s reading is that it probably won’t join Fahrenheit 9/11 as the second doc of its kind over $100 million.

Halloween played a part. It fell on a Saturday this year, and Saturday night is usually when an adult-skewing film like this one does its heaviest business. Losing a chunk of that to parties and trick-or-treating would hurt a three-hour documentary more than a family film with Saturday matinees.

So where does it end up? We won’t guess at a final number. What we can say is that it’s still adding several million dollars a weekend, it has the international market in front of it, and a $7 million film earning more than $60 million at home is already a success by any standard.

5. Clayface (2026, Warner Bros. and DC Studios)

What makes it stand out: DC’s first 18-rated body-horror film dropped steeply in week two, but it held close enough to stay in the fight for No. 1.

Key data: About $10.4 million in its second weekend, down 57% from a $24.5 million opening, for a domestic total of $44.1 million against a reported $44 million budget; it opened to about $43 million worldwide.

Why it matters: Cheap genre bets are part of how DC Studios plans to spread its risk, and this is the first real test of that idea.

A 57% drop is steep, but it isn’t unusual for a horror-leaning comic-book film, and it’s slightly better than some forecasts. Screen Rant had projected a fall of about 57.3% before the weekend, and the film landed almost exactly there. The site framed it as Clayface avoiding the DC box office curse, which is a generous way of putting it, but not a wrong one.

The budget is what keeps this from being a worry. Reports differ, with Fortune citing $44 million and The Numbers listing $40 million, but either way Clayface has now made back its production cost in North America alone in ten days. Marketing costs push the break-even point well above that, and it’ll need international audiences to get there.

The film stars Tom Rhys Harries as Matt Hagen, the actor whose face melts, with Naomi Ackie alongside him, and James Watkins directs from a script Mike Flanagan worked on. We gave it 3/5 in our Clayface review, praising the gore and Harries but not the uneven tone.

There’s a corporate angle too. Deadline described the opening as the second No. 1 weekend for the combined Paramount and Warner Bros. since Skydance’s takeover closed on 6 October, after Street Fighter. A third straight win would be a nice talking point for the new owners, which explains Warner Bros.’ reluctance to give up the top spot.

6. A Sleepy Halloween (2026, All Studios)

What makes it stand out: Halloween is meant to be a horror showcase, but this year it was one of the quietest weekends of 2026.

Key data: Overall takings of roughly $62 million to $63 million, which would be about the third-lowest weekend of the year, after 2025’s Halloween frame took just $55.5 million, the lowest in more than 30 years.

Why it matters: Two weak Halloweens in a row suggest the holiday is now something that pulls people away from cinemas rather than towards them.

The AP called it a sleepy Halloween weekend, and Deadline used the word sluggish. Both are fair. When the top film takes $10.6 million, there isn’t much to build a big weekend on.

The calendar didn’t help. Halloween fell on a Saturday, which is the worst case for cinemas: the biggest moviegoing night of the week goes up against parties, trick-or-treating and costume events. Studios know this, and most avoided opening anything big. There was no new wide horror release to give the weekend a spike.

Gold Derby pointed out that last year’s Halloween weekend was even lower, at $55.5 million, the worst in more than three decades. So 2026 is up on 2025, but only slightly, and both are a long way below the years when a big horror release owned the holiday. Back in 2018, Blumhouse’s Halloween took more than $30 million on its opening Friday alone.

The quiet weekend also explains why a documentary could win. On a busier frame, $10.6 million might have been good for third or fourth. This one was wide open.

7. Wildwood (2026, LAIKA and Fathom Entertainment)

What makes it stand out: LAIKA’s stop-motion fantasy had the best hold in the top five and kept third place.

Key data: About $7.5 million in its second weekend, down from an estimated $11.6 million opening from 2,942 cinemas, for a domestic total of about $25.9 million.

Why it matters: It’s LAIKA’s first film released through Fathom rather than a traditional studio, and it’s doing better than expected.

Before release, analysts had Wildwood pencilled in for somewhere between $6 million and $10 million. Willamette Week, the paper in LAIKA’s home city of Portland, reported that it beat that with $11.6 million, and noted sell-outs in local independent cinemas.

The second weekend is even more encouraging. A drop of about 35% is the kind of hold family films get when parents are recommending them to each other, and Halloween weekend, with its afternoon screenings and half-term holidays, suits a film like this better than most.

There are caveats. 80.lv, citing The Numbers, reported the opening as the second-lowest in LAIKA’s history, and the studio’s films are expensive and slow to make. Slashfilm asked before release whether Wildwood could overcome its big budget, and $25.9 million in ten days doesn’t answer that yet.

Directed by Travis Knight, Wildwood has a voice cast that includes Carey Mulligan, Mahershala Ali and Richard E. Grant. Fathom is handling North America, while FilmNation represents it internationally. In the UK it opened at No. 4 with £1,022,599, which is a decent start for a stop-motion film.

8. Wicker (2026, Black Bear)

What makes it stand out: A Sundance fantasy starring Olivia Colman reached the top four on a weekend with no big new releases.

Key data: About $4.1 million for fourth place, from Black Bear, which first put the film in cinemas on 23 October.

Why it matters: It’s another sign that smaller distributors can find room on the chart when the studios leave a gap.

Wicker is the story of a fishing-village outcast who weaves herself a husband, and it stars Olivia Colman and Alexander Skarsgård, with Peter Dinklage in the cast too. It came out of Sundance with good buzz, and Black Bear set an October release, as TheWrap reported in the summer.

Fourth place on $4.1 million isn’t a breakout, but it’s respectable for an odd, adult-skewing romantic fantasy from an independent distributor. It also says something about the weekend that a film this size finished so high.

The question for Black Bear is how far it can push the film into November, when the studio releases start arriving in earnest. Adult audiences tend to show up later and stay longer than the opening crowd, so its holds over the next two weekends will matter more than this one.

UK readers will be curious, given that Colman leads it. A UK cinema date isn’t confirmed in the sources we checked, so we’ll update when one is announced.

9. Street Fighter (2026, Paramount and Legendary)

What makes it stand out: Two weeks after winning its opening weekend, the video game adaptation is down to fifth.

Key data: About $3.2 million in its third weekend, after an estimated $31 million debut on 16 to 18 October and a B- CinemaScore.

Why it matters: It’s what a front-loaded fan film looks like, and it puts pressure on any sequel plans.

When Street Fighter opened, the question was whether that B- CinemaScore would mean a steep run. Three weekends in, it has. Falling from $31 million to about $3.2 million in two weeks means it’s lost about 90% of its opening-weekend audience.

That isn’t unusual for a film driven by fans who all turn up early, and Street Fighter has always been a bigger name in Asia and Latin America than in North America. The international total will decide how this one is judged. But at home, the run is effectively over, and Kitao Sakurai’s reboot will end up well short of Mortal Kombat II’s domestic total.

In the UK it’s held up better. It made £1,009,598 in its second weekend on 23 to 25 October for a total of £4,282,556, which is why it’s still fifth on the most recent British chart. We gave it 2.5/5 in our Street Fighter review.

10. The Rest of the Top 10 (2026, Various Studios)

What makes it stand out: The bottom half of the chart is a mix of fading September hits and a Sundance film that’s quietly growing.

Key data: Resident Evil $2.52 million, Other Mommy $2.5 million, The Only Living Pickpocket in New York $1.9 million, Heart of the Beast $1.6 million and Sense and Sensibility $1.4 million.

Why it matters: The gap between sixth and tenth is about $1.1 million, which shows how thin the market was this weekend.

The most interesting film here is The Only Living Pickpocket in New York. The Sundance indie added more than 1,000 locations in its second weekend and made about $1.9 million, enough for eighth place. It’s a small number, but it’s going in the right direction, which isn’t something you can say about most films this low on the chart.

Zach Cregger’s Resident Evil, meanwhile, is still in the top 10 several weeks into its run. When we last checked, on 18 October, it had made $148.5 million in North America and $361 million worldwide, so these are the tail-end dollars of a big hit.

Other Mommy is a different story. Jessica Chastain’s horror film opened to $27.5 million in early October, then fell about 71% after a D+ CinemaScore. On the one weekend of the year built for horror, it made $2.5 million. That’s what bad word of mouth does.

Heart of the Beast and Sense and Sensibility round it out. Both have been on release for several weeks, and both have done better in proportion in the UK, where they were in the top 10 earlier in October.

11. The UK Chart (UK and Ireland, 23 to 25 October 2026)

What makes it stand out: A British sitcom spin-off beat a DC film to No. 1 in the UK.

Key data: Ghosts: The Possession of Button House opened with £2,458,995, ahead of Clayface on £2,011,764 and Ali G: Who Iz I? on £1,344,873, with the top 10 taking £10,477,671 between them.

Why it matters: UK audiences keep turning up for homegrown comedy, and they do it at a scale Hollywood studios can’t ignore.

The most recent confirmed UK chart, published by the Film Distributors’ Association with Comscore data, tells a different story from North America. Ghosts, the big-screen version of the BBC sitcom, took 23.47% of the top 10’s takings according to Nobody Knows Anything, with Clayface on 19.20%.

It was a strong weekend for British comedy overall. Ali G’s return opened in third with £1,344,873, so two of the top three films were UK comedies. Hollywood didn’t have it all its own way.

The holdovers are worth a look too. Verity passed £10.8 million in its fourth weekend, which makes it one of the year’s biggest book adaptations in British cinemas. Other Mommy, which opened at No. 1 here in early October, has slipped to eighth with £4,718,778. And Shaun the Sheep: The Beast of Mossy Bottom is still in the top 10 after six weeks.

The Halloween weekend UK figures will arrive on Tuesday. After that, the next big date for UK cinemas is 20 November, when You Can See Everything opens here. If even part of its US momentum carries over, it could be one of the biggest documentaries British cinemas have had in years.

What This Weekend Tells Us

Halloween used to belong to horror. This year it belonged to a documentary that cost about $7 million, runs nearly three hours and only reached most of its cinemas two weeks ago. You Can See Everything probably won’t catch Fahrenheit 9/11 now, but $63.9 million and a No. 1 weekend is a remarkable result for any film, let alone a nonfiction one. Clayface is doing its job at its budget level, Wildwood is holding well, and the rest of the chart was quiet. Monday’s actuals will tell us who really finished first, and Tuesday’s UK figures will show whether Ghosts held off Clayface for a second weekend.

Sources: Associated Press, Deadline, TheWrap, IndieWire, Variety, Film Distributors’ Association (Comscore data).

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