A24’s You Can See Everything Edges Clayface for No. 1 on a Weak Halloween Weekend

A24's *You Can See Everything* finished first at the North American box office over the Halloween weekend of 30 October to 1 November 2026, with an estimated $10.6 million, narrowly ahead of the DC film *Clayface* at an estimated $10.4 million, according to Box Office Mojo. The result reverses the order of the previous weekend, when *Clayface* opened at $24 million and *You Can See Everything* took $19.5 million, as Todd Thatcher's box office column recorded.

All figures for the weekend are studio or tracker estimates, and final numbers were still pending on Sunday. The gap between first and second place is about $200,000, small enough that actuals could reorder the top two.

What did the weekend chart look like?

Box Office Mojo's estimates put *You Can See Everything* at $10,600,685, *Clayface* at $10,400,000, the Laika animation *Wildwood* at $7,491,417, *Wicker* at $4,125,000 and *Street Fighter* at $3,200,000. FranchiseRe, the newsletter written by David A. Gross, gave slightly different estimates for the top three: $11 million, $10.5 million and $7.5 million. The differences are a few hundred thousand dollars at most, which is normal for Sunday estimates, but they show how thin the margin at the top is.

The two outlets agree on the shape of the weekend. FranchiseRe estimated that *You Can See Everything* fell about 40% from the previous weekend, *Clayface* about 55% and *Wildwood* about 40%. Measured against the $24 million opening, a 55% fall is a steeper second-weekend drop than the two other leading holdovers recorded, and it is the main reason the A24 film moved into first place.

Daily data from The Numbers shows the same pattern through Sunday, 1 November. *You Can See Everything* earned $3,451,382 on the day, down 4%, and stood at a cumulative $63.9 million. *Clayface* earned $2.8 million on Sunday, down 35%, with a cumulative $44.1 million. *Wildwood* earned $2,392,108, down 11%, and had reached $25.9 million. The Numbers listed $14,136,394 in total for the 26 films reporting that day.

Why did the order flip?

Two measurable differences explain most of the reversal. The first is the size of the drop. A film that opens large and loses more than half its audience in the second weekend ends up level with a film that opened lower and lost less than half. *Clayface* is a DC release rated R, according to Thatcher's column, and the figures reported suggest its audience front-loaded into the opening weekend. The sources do not explain why, and the evidence here does not support firm claims about audience reaction.

The second difference is the holiday calendar. FranchiseRe argued that the Halloween weekend suppresses attendance for family-oriented and fan-driven titles because costumes and trick-or-treating compete with moviegoing, and that *Clayface* and *Wildwood* would have held better on an ordinary weekend. That is the newsletter's opinion rather than a measured finding, and no source quantifies the effect. It is consistent, however, with the fact that all three leading titles fell by 40% or more.

Forecasts also missed. Thatcher had predicted *Clayface* at $13.5 million and *You Can See Everything* at $12.9 million for the weekend, with *Clayface* narrowly first. Both films came in below those projections in the early estimates, *Clayface* by roughly $3 million, and the order of the top two was the reverse of the forecast.

What does the weekend say about the market?

FranchiseRe described the weekend as weak and below last year's Halloween weekend, when Halloween also fell on a Friday and the combined weekend box office was $57.4 million. The newsletter said this year's total was expected to be lower, without giving a figure, and noted that major distributors had avoided scheduling large new releases against the holiday. The new wide and semi-wide releases were small: the BTS concert event *BTS World Tour Arirang* from Trafalgar took an estimated $3 million on 1,010 screens, Sony Pictures Classics' *The Only Living Pickpocket in New York* took an estimated $2 million on 1,112 screens after expanding, and the indie horror comedy *Christmas at the Kringles* from Briarcliff took an estimated $700,000 on 1,825 screens.

That lack of new product helps explain why holdovers set the top of the chart. When no major opener arrives, the winner is whichever existing film loses the least audience, and the ranking can change on small differences. A24's film, which had expanded wide the previous weekend according to Thatcher, was the beneficiary. Its cumulative $63.9 million, per The Numbers, is well ahead of *Clayface* at $44.1 million, even though *Clayface* opened larger. Thatcher listed the *Clayface* production budget at $40 million, so the film has now reached more than the budget figure domestically, though the budget does not include marketing and the sources do not report worldwide grosses.

*Wildwood* faces a harder position. Thatcher reported its budget at more than $100 million. With an estimated $25.9 million in cumulative domestic gross after its first full run of weekends, per The Numbers, the animated film has recovered a fraction of that cost in North America, and the sources do not give international receipts. Whether it can rebuild during the holiday period will depend on competition from the next wave of releases.

What happens next?

FranchiseRe said at least five new wide releases are scheduled for the coming weekend, which will push the current leaders down the chart and test whether *You Can See Everything* can hold its audience. Its Sunday figure, down only 4% on the day, is a small sign of resilience, though one day of data is not a trend and Sunday comparisons are affected by the holiday timing.

For distributors, the weekend illustrates a recurring problem in the autumn calendar. Halloween on a Friday leaves a gap that few studios want to fill, and the weekend after it is often crowded. The result is a thin frame in which a single film's drop can decide the top spot, as happened here.

What the sources do not settle

Several points remain unconfirmed. Final actuals for the weekend were not available when the sources were published, and the first-place margin is within the range of normal estimate revisions. The reasons for *Clayface*'s steeper decline are not documented in the sources read. The cumulative figures from The Numbers and the weekend estimates from Box Office Mojo come from different data sets, and the page for The Numbers carries a metadata date of 30 October although its chart is labelled 1 November. Readers comparing the two should treat the totals as approximate until final numbers are posted.