Clayface Opens at No. 1 With $24 Million as A24's Three-Hour You Can See Everything Climbs 25%

DC Studios' R-rated horror film *Clayface* opened at No. 1 in North America on the weekend of 23-25 October with an estimated $24 million, according to The Numbers' weekend chart, while A24's three-hour documentary *You Can See Everything* rose 25% in its second weekend to $19.5 million after expanding from about 855 to 2,655 theaters. Both figures are Sunday estimates, and the two results show a franchise brand and an independent distributor each finding an audience without a conventional blockbuster budget.

What did the weekend chart show?

*Clayface*, released by Warner Bros. Pictures in 3,458 theaters, averaged $6,940 per location, per The Numbers. Collider reported a global start of about $43 million, with roughly $19 million from international markets, and said opening day delivered about $10 million. Pre-release tracking had pointed to $25 million to $30 million, according to iHorror, which put Thursday previews at $3.5 million or more. Bleeding Cool put the opening at $24.5 million and called it "the lower end of expectations".

Behind it, *You Can See Everything* grossed $19.5 million in 2,655 theaters, a $7,345 average that topped the *Clayface* figure, and lifted its domestic total to $45.1 million after ten days. It was the only film in the top ten to increase its gross. Laika's animated *Wildwood* opened third at about $11 million in The Numbers' chart, while Box Office Mojo lists $11.6 million. Black Bear's *Wicker* opened fifth with $5.75 million in 1,471 theaters. Combined business across 33 reporting titles was about $92.8 million, per The Numbers.

Because the numbers are estimates, Monday's actuals could shift the figures slightly. Box Office Mojo's homepage listing carried the same $24.0 million and $19.5 million top-two estimates.

Why does Clayface's opening matter for DC?

*Clayface* is directed by James Watkins from a screenplay by Mike Flanagan and Hossein Amini, and stars Tom Rhys Harries as Matt Hagen, according to iHorror. That outlet described it as the first R-rated film in James Gunn's DC Universe. Collider listed Gunn, Peter Safran, Matt Reeves and Lynn Harris as producers.

The financial case rests on cost. Collider put the budget at $35 million to $40 million, while iHorror and JoBlo cited $44 million. Reported figures therefore differ by as much as $9 million, none of the outlets explains the gap, and marketing spending is excluded from all of them. On either figure the film is far cheaper than *Supergirl*, which Collider said grossed about $125 million worldwide against a reported budget above $185 million. Bleeding Cool said the *Clayface* opening looks better than *Supergirl*'s because of the smaller budget, and that the $43 million global start roughly covers the film's reported cost.

Comparisons are not all favourable. JoBlo noted that *Morbius*, another supervillain origin story, opened about $15 million higher. Collider projected more than $120 million worldwide for *Clayface*, which is the outlet's own forecast and not a studio figure. A cheap film can still disappoint if the second weekend falls sharply, and the coming frame, the first Saturday Halloween since 2020, is crowded with horror releases, per iHorror.

How did audiences and critics react?

Audiences gave *Clayface* an A- CinemaScore, the same grade Collider said *Superman* (2025) received. iHorror reported that horror films rarely earn such marks, noting that *Other Mommy*, which won the weekend of 9-11 October with $27.5 million, received a D+. Gunn wrote on Threads, as quoted by iHorror: "Really proud of this."

Collider cited 75% from critics on Rotten Tomatoes, labelled Certified Fresh, and 94% from audiences. The critics' consensus, quoted by Collider, says the film "takes time to get going until it eventually morphs into an icky and satisfying revenge thriller." CinemaScore polls opening-night audiences, who skew toward fans, so the grade signals word of mouth and not the view of the wider public.

What explains the surge for You Can See Everything?

*You Can See Everything* is a three-hour documentary from the comedian Nathan Fielder, released by A24. Bleeding Cool and JoBlo both reported a $19.5 million second weekend, up 25%, with a domestic total of about $45 million. JoBlo said the film "has really captured the zeitgeist" and suggested it could become one of A24's highest-grossing releases.

Bleeding Cool reported sold-out shows nationwide, attributed the increase to word of mouth and the wider release, and predicted the film could take the No. 1 position the following weekend, with a chance of reaching $100 million domestically. That is the writer's forecast and depends on competition from large November releases.

The per-theater average is the notable detail. A three-hour film fits fewer showtimes per screen each day than the 108-minute runtime Collider lists for *Clayface*, so a higher average points to strong demand per showing. The sources do not break out showing counts or occupancy, so that reading is an inference.

What we don't know yet

Several figures remain unconfirmed. Final actuals for both films will arrive on Monday, and the budget for *Clayface* is variously reported at $35 million to $40 million and $44 million. Marketing costs, which determine profitability, are unreported. No studio statement on the second-weekend outlook appeared in the coverage reviewed.

What happens next?

The test for *Clayface* is the second weekend. An A- CinemaScore suggests decent staying power, per Bleeding Cool, but the film faces Halloween competition and an international footprint that supplied $19 million of its $43 million start. Collider noted that DC's slate includes *Man of Tomorrow*, the *Superman* sequel, in summer 2027, and a *Swamp Thing* film in development from director James Mangold. The studio's economics over the next year therefore depend less on one weekend than on whether lower-budget, genre-led films can sit beside the larger Superman franchise.

For A24, the question is how far a documentary can travel in wide release. The film's 2,655-theater count is large for the distributor, and whether the per-theater average holds as the count grows will show if the audience extends beyond its initial base. Exhibitors gain from both stories: a horror film with strong audience scores and a documentary with reported sold-out screenings.