\n\tJust when you thought you\u2019d seen everything\u2026 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.<\/p>\n
\n\tAlthough Warner Bros. and DC\u2019s R-rated \u201cClayface<\/a>\u201d was comfortably at No. 1 with $24 million from 3,458 North American theaters in its debut, A24\u2019s buzzy Elizabeth Holmes doc \u201cYou Can See Everything<\/a>\u201d 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.<\/p>\n \n\tTicket sales for \u201cYou Can See Everything\u201d 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 huge $45.1 million domestically to date. It was produced for $7 million. After capturing the zeitgeist and selling out screenings across the coasts, awards sages are predicting it could become the first documentary to ever score a best picture nomination<\/a> at the Oscars.<\/p>\n \n\t\u201cOpening \u2018You Can See Everything\u2019 in 855 theaters was a really smart move, allowing the film to establish itself and build momentum before going much wider,\u201d says Rentrak\u2019s head of marketplace trends Paul Dergarabedian. \u201cThe fact that we\u2019re seeing a documentary deliver such a significant second-weekend increase is remarkable.\u201d<\/p>\n \n\t\u201cClayface\u201d arrived on the lower end of the studio\u2019s expectations of $25 million to $35 million. 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\u2019s a way smaller budget compared to DC\u2019s other recent tentpoles, including this July\u2019s \u201cSupergirl\u201d and 2025\u2019s \u201cSuperman.\u201d Although \u201cSuperman\u201d was a decent hit with $618 million against a $225 million budget, \u201cSupergirl\u201d was a setback for the newly relaunched comic book studio after bombing with $126 million against a $170 million budget. Meanwhile, DC has found success on streaming with its \u201cPeacemaker\u201d and \u201cLanterns\u201d shows for HBO Max. DC wanted to keep costs low on \u201cClayface\u201d because it\u2019s a body-horror thriller that\u2019s much darker than those family-friendly adventures. Directed by James Watkins, \u201cClayface\u201d 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 \u201cA-\u201d grade on CinemaScore exit polls.<\/p>\n \n\t\u201cOver the years, there have been a dozen spinoffs of superhero villains and antiheroes, from \u2018Joker\u2019 to \u2018Venom\u2019 to \u2018Kraven the Hunter,’\u201d says David A. Gross, who publishes the box office newsletter FranchiseRe. \u201cThis picture was wisely conceived as something different, costing a fraction of what those films cost, and it should be profitable when it finishes all ancillary business.\u201d<\/p>\n \n\t\u201cClayface\u201d opened alongside a smattering of new releases, including Laika\u2019s stop-motion animated \u201cWildwood,\u201d Black Bear\u2019s offbeat romantic comedy \u201cWicker\u201d and Sony\u2019s literary adaptation \u201cKlara and the Sun,\u201d starring Jenna Ortega.<\/p>\n \n\t\u201cWildwood\u201d debuted at No. 3 with $11.2 million from 2,718 venues, launching above projections of $6 million to $8 million. It\u2019s a promising start for original animation, which has been challenged in the years following the pandemic. And \u201cWildwood\u201d has the benefit of sterling reviews (a rare 100% on Rotten Tomatoes) and audience scores (an \u201cA\u201d 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\u2019t turn a theatrical profit.<\/p>\n \n\t\u201cThis is a very good opening for a new animated film from outside of the studio development and distribution system,\u201d says Gross. \u201cAudiences love this movie, but it needs a very long run to recoup its costs.\u201d <\/p>\n \n\tSo far, \u201cWildwood\u201d has collected just $3 million internationally from 11 markets. The movie hails from Laika Studios, best known for making the 2009 stop-motion fantasy \u201cCoraline.\u201d This is the company\u2019s first release since 2019\u2019s \u201cMissing Link,\u201d which opened to $6 million from 3,413 theaters and ended its run with $26 million globally. \u201cWildwood\u201d was directed by Laika\u2019s CEO Travis Knight and revolves around a teenage girl who travels with a classmate into an enchanted forest after her brother is abducted.<\/p>\n \n\t\u201cWicker\u201d captured fifth place with $5.75 million from 1,471 locations, a strong start for the low-budget film. Black Bear acquired the well-reviewed movie after Sundance for $2.5 million. Olivia Colman stars as an ostracized woman who commissions a local basketmaker to weave her a husband. Her unexpected romance with the creation (Alexander Skarsg\u00e5rd) sparks jealousy in the village. <\/p>\n \n\t\u201cIt is fantastic to see that the film is truly resonating with the audiences,\u201d says Black Bear\u2019s head of domestic theatrical distribution David Spitz. \u201cThis is a true testament to the filmmakers, cast, our innovative marketing, and our partnership with exhibition whose support proves that these types of films are what audiences want in their mix of movie-going experiences.\u201d<\/p>\n \n\t\u201cKlara and the Sun\u201d collapsed at No. 15 with $720,000 from 880 locations. Sony scaled back the theatrical footprint after reviews panned the movie as \u201ccalamitous<\/a>\u201d and \u201cconfoundingly awful<\/a>.\u201d Luckily, the Taika Waititi-directed adaptation had a modest $20 million budget, so the studio\u2019s inevitable box office losses won\u2019t be too painful. Based on Kazuo Ishiguro\u2019s 2021 novel, \u201cKlara and the Sun\u201d takes place in the dystopian future as an obsolete companion android (Ortega) tries to bond with her new owner, a young sick girl named Josie.<\/p>\n \n\tMeanwhile Amazon MGM didn\u2019t report grosses for Sacha Baron Cohen\u2019s mockumentary \u201cAli G: Who Iz I?\u201d after dialing down the release to just 125 theaters for two days. It\u2019ll premiere soon on Prime Video.<\/p>\n \n\tParamount\u2019s video game reboot \u201cStreet Fighter\u201d landed in fourth place with $8.6 million from 3,575 theaters in its second weekend, a painful 72% drop from its debut. The movie has generated $46.9 million in North America and $79.6 million worldwide to date. Legendary and video game developer Capcom co-financed \u201cStreet Fighter\u201d for $82 million, with Paramount only on the hook for distribution.<\/p>\n \n\tDisney and 20th Century\u2019s \u201cWhalefall,\u201d too, took a tumble in its sophomore outing with $3.2 million from 3,065 theaters. The survival thriller, starring Austin Abrams as a scuba diver swallowed by a sperm whale, dropped to 10th place on weekend charts and has earned $14.1 million domestically and $31.1 million globally to date. \u201cWhalefall\u201d cost $60 million and requires substantial staying power, since theater owners keep about half of ticket sales.<\/p>\n \n\tElsewhere, Netflix\u2019s generation-spanning drama \u201cLa Bola Negra\u201d earned $245,000 from nine locations \u2014 a decline of 12% despite expanding its theater count. So far, the streamer\u2019s awards hopeful has collected $650,000 from two weekends in limited release. Netflix plans to keep \u201cLa Bola Negra\u201d in theaters for 45 days, a traditional window in post-pandemic times, before the film\u2019s Netflix release on Dec. 2. <\/p>\n","protected":false},"excerpt":{"rendered":"Just when you thought you\u2019d seen everything\u2026 A three-hour documentary (in its second weekend of release) has earned…\n","protected":false},"author":2,"featured_media":813661,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[9711,96,59,56,54,55,252803],"class_list":["post-813660","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","tag-clayface","tag-entertainment","tag-gb","tag-uk","tag-united-kingdom","tag-unitedkingdom","tag-you-can-see-everything"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/813660","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/comments?post=813660"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/813660\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media\/813661"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media?parent=813660"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/categories?post=813660"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/tags?post=813660"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}