You Can See Everything has narrowly taken the domestic Halloween-weekend box-office lead over Clayface, with estimates putting the documentary-comedy at $10.6 million and the DC Studios release at $10.4 million. The margin is slim enough that the ranking could shift when final domestic totals are reported, but the early result is notable: the Elizabeth Holmes film is in its third weekend of theatrical release, while Clayface is still in the early stages of its run.
The domestic finish should not be confused with the worldwide picture. Clayface generated $22.8 million internationally, where the other film has had a limited rollout, leaving the Gotham-set feature comfortably ahead globally. Its cumulative worldwide total has reached $82.9 million. You Can See Everything, meanwhile, has taken in $64 million so far.
It is an unusually close Halloween matchup between films that could scarcely be more different on paper: a comedic examination of the life of controversial Theranos founder Elizabeth Holmes, directed by Nathan Fielder and Lance Oppenheim, versus a body-horror-minded tragic origin story for a Batman villain who has rarely occupied the spotlight in major screen adaptations.
A close domestic race, with final figures still to come
Weekend estimates are preliminary calculations, rather than the final accounting of every ticket sold. That distinction matters especially when the difference is just $200,000. The reported $10.6 million and $10.4 million totals put You Can See Everything first and Clayface second for now, but final tallies may revise those positions.
Even if the order changes, the broader result remains clear: both films attracted substantial audiences over a competitive holiday weekend. Halloween offered an obvious thematic fit for Clayface, whose story uses a body-horror framework and brings a shape-shifting Batman adversary into a new Gotham City setting. Yet You Can See Everything continued to hold its ground instead of fading after its opening period.
That staying power is particularly significant because the Holmes project began comparatively small. It opened on October 16 in 855 theaters before expanding its auditorium count. A release that adds theaters after its debut is responding to demand as well as gaining the opportunity to turn that demand into larger grosses. In this case, the expansion coincided with another strong domestic showing.
The film had already placed second during its first weekend, behind Street Fighter, and returned to second place when Clayface debuted the following weekend. Now, in provisional Halloween-weekend reporting, it has risen to first domestically. Strong reviews, audience word of mouth, and an exceptionally high standing on Letterboxd have all helped keep attention on the film.
What the weekend-to-weekend drops suggest
Box-office reporting often focuses on a film’s percentage change from one weekend to the next. This measurement is useful because a large opening total can tell one story, while how well a title retains its audience can tell another.
You Can See Everything fell 43% domestically after increasing its business in its second weekend. Clayface declined 57% in its second frame. Neither number, by itself, settles a film’s long-term commercial outcome; release patterns, theater counts, competition, international play, and marketing can all affect the comparison. But the respective drops do underline why the Holmes film remains central to the current domestic conversation.
A 43% decline means the film retained a substantial portion of its preceding weekend’s ticket business. The 57% decrease for Clayface is steeper, though it comes after a debut and does not erase its strong worldwide lead over its competitor. Both movies are still adding to their theatrical totals, and the weeks ahead will determine whether the domestic race remains close or diverges.
Budget context also helps explain why neither performance has to be evaluated solely through the lens of a blockbuster-sized opening. You Can See Everything reportedly cost less than $20 million when production and marketing are considered together. Clayface is believed to have had a $44 million production budget. Those are distinct measures—one includes marketing and one is production-only—so they cannot be treated as a direct like-for-like profitability calculation. Still, the reported figures place both projects below the scale normally associated with the largest franchise tentpoles.
That makes sustained attendance valuable. A film with a more modest cost base can benefit meaningfully from several weeks of stable theatrical interest, while a genre release can build its case internationally even if it does not win every domestic weekend.
Why ‘Clayface’ still matters for the DCU
Clayface stars Tom Rhys Harries and Naomi Ackie and frames its title character through a tragic backstory. The choice to make a film around an often-overlooked Batman villain is important on its own: it broadens the range of characters being used for DC Studios’ shared DCU rather than relying only on its most familiar heroes.
The release also arrives at a consequential moment for that wider screen universe. Supergirl did not successfully follow 2025’s Superman when it opened earlier in 2026, putting additional attention on the next DCU theatrical entries. By that standard, Clayface has delivered a meaningful early contribution rather than becoming a clear setback. Its $82.9 million worldwide total is not the end of the story, but it gives the film a platform to continue building.
The Halloween timing was well suited to the material, yet a seasonal opening can also create a sharp test: audiences have many horror-adjacent options and limited time around the holiday itself. Clayface did not take the domestic crown in the preliminary numbers, but it remained very close to the weekend’s leader while leading the global comparison by a wide margin.
For viewers following comic-book adaptations, the practical takeaway is that the film’s performance should be read in two lanes. Domestically, it has encountered unexpectedly durable competition. Internationally, it has been substantially stronger than You Can See Everything because it is playing more broadly outside the United States. Neither point cancels the other.
Resident Evil’s worldwide total adds a video-game success story
Elsewhere in the worldwide chart, Resident Evil climbed from fifth place the previous weekend to fourth over Halloween. The Zach Cregger video-game adaptation has now reached $400 million worldwide against a reported $75 million budget.
The reported budget and worldwide gross are not enough to calculate a studio’s final profit. Theatrical revenue is split with exhibitors, and marketing, distribution, and other costs are separate considerations. Nevertheless, the gap between the reported $75 million production budget and $400 million worldwide gross makes the scale of the movie’s theatrical run unmistakable.
For an adaptation of a video-game series, the result is also a reminder that the global market can be decisive. The weekend ranking is only a snapshot, while the cumulative gross reflects a title’s ability to keep gathering ticket sales across territories and over time. Resident Evil has done that to a remarkable degree.
Those who want more game-and-screen context can also revisit Patrick Stewart’s CD-ROM edutainment legacy, another example of how games and adjacent media can intersect in unexpected ways.
‘Wildwood’ faces a tougher arithmetic problem
Laika’s Wildwood is on a different trajectory. The critically acclaimed animated film earned $11.54 million worldwide for the Halloween weekend and stands at $35.17 million after two weekends. Its reported budget is $100 million.
Again, ticket sales should not be mistaken for a profit-and-loss statement, and a film’s complete financial life can involve more than theatrical receipts. But the present box-office total is well below the reported production budget, meaning Wildwood still has a significant amount of ground to cover during its run. The contrast with Resident Evil illustrates why rankings alone are incomplete: fourth place on a single weekend says less than the relationship between ongoing total, costs, and the length of a release’s theatrical legs.
November’s release calendar is about to change the conversation
The current field will soon face a new wave of theatrical competition. Takashi Yamazaki’s kaiju sequel Godzilla Minus Zero is scheduled for November 6, with Godzilla Day screenings available earlier on November 3. I Play Rocky and The Cat in the Hat are also set for release that weekend.
On November 13, Denis Villeneuve’s first two Dune films return to theaters as audiences prepare for Part 3. November 20 brings the next Hunger Games prequel, Sunrise on the Reaping. Then Focker In-Law, starring Ben Stiller, Ariana Grande, Robert De Niro, and Skyler Gisondo, arrives November 25.
That schedule gives the current crop of films a limited window in which to consolidate their momentum. For now, You Can See Everything has the provisional domestic headline, Clayface has the stronger worldwide position in their direct comparison, and Resident Evil has emerged as the standout global performer among the game-related releases in the conversation. Final Halloween-weekend numbers will clarify the closest race; the next several weekends will show which films can keep audiences returning.
