A24’s documentary You Can See Everything narrowly claimed the top spot at the North American box office over the Halloween weekend, surpassing Warner Bros.’ Clayface. Despite this success, overall ticket sales saw a significant drop from the previous week, though they remained slightly above the figures from the same period last year.
The film, which explores the life of Theranos founder Elizabeth Holmes and is directed by Nathan Fielder and Lance Oppenheim, earned approximately $10.6 million in its third weekend, according to Rentrak data. This was just enough to edge out Clayface, which brought in $10.4 million in its second weekend, with a difference of only $200,684. Final box office figures are expected to be confirmed on Monday.
The domestic box office generated an estimated $55.7 million from October 30 to November 1, marking a 42.1% decrease from the previous weekend. However, this figure represents a 4.2% increase compared to the same weekend in 20251. This fluctuation in box office performance highlights the ongoing volatility in the movie industry as it continues to recover from the disruptions caused by the COVID-19 pandemic. The pandemic had a profound impact on theater operations, leading to closures and reduced capacity, which in turn affected the release schedules and box office earnings of many films.
For investors in theater chains and entertainment companies, these results underscore the uneven nature of the box office recovery. Year-to-date, domestic ticket sales have reached $8.46 billion, up 20.1% from $7.05 billion during the same period last year. Nonetheless, the sharp weekly decline highlights the industry’s ongoing reliance on a steady stream of engaging releases to maintain audience numbers2. The entertainment industry often sees peaks and troughs in box office revenues, largely influenced by the release of blockbuster films, seasonal trends, and consumer confidence.
To date, You Can See Everything has grossed $63.9 million domestically, while Clayface has earned $44.1 million. The latter experienced a 57% drop from its opening weekend, compared to a 43% decline for the A24 release. The performance of these films is indicative of the competitive nature of the box office, where even small differences in earnings can determine a film’s ranking.
Fathom Entertainment’s animated fantasy Wildwood ranked third, earning $7.5 million, a 39% decrease, bringing its domestic total to $25.9 million. Audience feedback has been positive, with 98% of surveyed moviegoers indicating they would recommend the film. This level of audience satisfaction is crucial for a film’s longevity in theaters, as word-of-mouth recommendations can significantly boost ticket sales over time.
Meanwhile, Black Bear’s Wicker, featuring Olivia Colman and Alexander Skarsgård, showed stronger retention, dropping just 28% to $4.1 million in its second weekend, with a domestic total of $13.3 million. It also topped the U.K. box office with $2.2 million, excluding previews. The film’s performance in international markets highlights the global appeal of certain films, which can contribute significantly to their overall financial success.
Among established franchises, Sony’s Resident Evil continued its strong international performance, reaching $400 million globally in its seventh weekend. The horror film added $2.5 million domestically and $7.5 million overseas, with a 29% decline in international weekend receipts. Franchise films often benefit from a built-in audience, which can lead to sustained box office performance over multiple weeks.
Universal’s Other Mommy also achieved a milestone, reaching $107.5 million worldwide after earning $2.5 million domestically and $6 million internationally. The success of such films underscores the importance of international markets in the overall box office strategy for major studios.
Horror remains a significant contributor to the theatrical business in 2026, generating an estimated $1.38 billion domestically through November 1. This puts it about $44.3 million short of its full-year 2025 record3. The genre’s enduring popularity is often attributed to its ability to attract a diverse audience, drawn by the thrill and suspense that horror films typically offer.
The premium-format market continues to thrive, with IMAX reporting approximately $6 million in worldwide box office receipts over the weekend, including $825,000 from the debut of Everest: The Other Side. Premium formats like IMAX provide an enhanced viewing experience that can attract audiences willing to pay higher ticket prices, thereby boosting overall revenue.
The industry faces another test next weekend with Warner Bros. (NASDAQ:SKYD) releasing The Cat in the Hat in about 4,000 theaters and Godzilla Minus Zero in around 2,700 locations. These releases may provide a much-needed boost to theater attendance following the Halloween slowdown. The success of these films could signal a positive trend for the industry as it heads into the holiday season, a crucial period for box office performance.
These figures were provided by Rentrak, with insights from Paul Dergarabedian, head of marketplace trends.
Footnotes:
- The domestic box office generated $55.7 million from October 30 to November 1, 2026. Source.
- Year-to-date domestic ticket sales have reached $8.46 billion, up 20.1% from the same period last year. Source.
- Horror films have generated an estimated $1.38 billion domestically through November 1, 2026. Source.
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