This Monday Morning Box Office Hangover Report Covers the weekend of October 30 to November 1, 2026.
New To The Monday Morning Box Office Hangover Report?
Every Monday, here on the Monday Morning Box Office Hangover Report we break down the weekend box office: who won, who didn’t, and what the numbers are really saying about what audiences want right now. It’s your post-weekend debrief with a little cocktail bite.
Opening Pour
Apparently Halloween was the biggest movie in America this weekend. With the holiday landing on Saturday, moviegoers largely abandoned theaters for costumes, parties, haunted houses, and the timeless tradition of pretending they are not too old to steal candy from their kids. The result was one of the weakest box office weekends of 2026, with only about $56 million in reported domestic ticket sales.
And yet, in the middle of all that, You Can See Everything finally climbed to No. 1. The nearly three-hour Elizabeth Holmes documentary earned $10.6 million in its third weekend, edging Clayface by only about $200,000 and becoming the strangest No. 1 movie of the fall. Three weekends in, with a runtime of more than three hours, a documentary about Elizabeth Holmes is now the No. 1 movie in America. Sure. Why not? 2026 stopped making sense months ago.
Top 5 Domestic Films
(Weekend estimates, October 30 to November 1, 2026)
- You Can See Everything — $10.60M
- Clayface — $10.40M
- Wildwood — $7.50M
- Wicker — $4.13M
- Street Fighter — $3.20M
Recap
There is no way around it: this was a lousy weekend for theaters. Halloween falling on Saturday pulled audiences away from multiplexes, leaving the total domestic weekend at roughly $56 million, one of the lowest totals of the year. The good news is that the weakness looks more calendar-driven than existential, especially since the overall 2026 domestic box office is still running more than 17% ahead of last year and is closing in on $8.5 billion.
The more interesting story is what happened at the top. You Can See Everything did not open at No. 1, and it did not get there in weekend two. It reached the top in weekend three, which is the kind of theatrical run distributors dream about because it means the movie is expanding beyond the people who already wanted to see it. Word of mouth is not just keeping the movie alive. It is actively growing the audience.
Highlights and Insights
1) You Can See Everything finally took the crown
The Nathan Fielder and Lance Oppenheim documentary earned $10.6 million this weekend, bringing its domestic total to $63.9 million against a reported production budget of only $7 million.
That means the film has now earned more than nine times its production budget domestically before even getting into whatever it eventually makes through streaming, licensing, and international distribution. This is not some 95-minute true-crime popcorn doc either. It runs more than three hours. A three-hour Elizabeth Holmes documentary just became the No. 1 movie in America, which is probably not something any studio algorithm would have confidently predicted six months ago.
2) Clayface basically tied for first
Let’s not pretend Clayface got beaten badly. It earned $10.4 million, only about $200,000 behind You Can See Everything, while dropping 57% in its second weekend. Its domestic total now sits at approximately $44.1 million, essentially matching its reported $44 million production budget before international grosses are counted. Worldwide, it has reached roughly $83 million.
For an R-rated body-horror movie built around one of Batman’s stranger villains, that is still pretty healthy. The real test is whether it keeps holding once the Halloween bump disappears and November competition starts crowding the market.
3) Wildwood had the best hold among the top three
Laika’s Wildwood added $7.5 million in weekend two, down only 39%, bringing its domestic total to about $25.9 million.
Given the film’s reported $100 million production budget, nobody is popping champagne yet. But a sub-40% second-weekend drop is exactly what it needed. Animation, especially stop-motion animation, tends to live or die on legs rather than opening-weekend hysteria, so if family audiences keep finding it throughout November, the story can still improve considerably.
4) Wicker may be turning into a nice little sleeper
The Olivia Colman and Alexander Skarsgård fantasy comedy fell only 28% in its second weekend, earning $4.1 million and bringing its domestic total to about $13.3 million.
That is not blockbuster territory, but it may be something arguably more useful: an adult movie quietly holding its audience. Those are the titles that can hang around for six or eight weekends and end up looking a lot healthier than their opening numbers initially suggested.
5) Street Fighter keeps getting punched
Last weekend we gave Street Fighter the Hangover Report headache after its brutal 72% second-weekend collapse. This weekend, it dropped another 63%, down to $3.2 million. The movie has now made about $53 million domesticand approximately $91.9 million worldwide.
That global number is not catastrophic, but the trajectory is ugly. The movie did not just open front-loaded. It opened front-loaded and then drove off a cliff. At this point, the franchise conversation is less about momentum and more about whether the international numbers can keep the whole thing from looking like a missed opportunity.
6) Resident Evil is still quietly killing it
Buried down in seventh place is one of the healthiest long-term runs of the fall. Resident Evil earned another $2.5 million, down only 13%, and has now reached roughly $157.4 million domestic and essentially $400 million worldwide. Forty-five days into release, the thing is still hanging around the Top 10. That is how franchises get renewed. Not because somebody announces a cinematic universe at Comic-Con, but because the movie keeps making money long after opening weekend.
Who Had the Rough Morning After?
This weekend, we have options. Street Fighter is still staggering around from last week’s hangover, while Klara and the Sun collapsed 79% to just $145,000 from 880 theaters, giving it an absolutely brutal $165 per-theater average.
But the new release that deserves the actual Monday morning headache is The Mongoose. It opened to just $480,000 from 1,014 theaters, which works out to about $473 per theater for the entire weekend. At that point, you are not asking why audiences did not show up. You are asking whether some theaters accidentally forgot they were playing it.
That is a box office hangover.
One Movie That Quietly Exploded
Here is the number I almost like more than anything in the Top 5. The Only Living Pickpocket in New York expanded from its limited opening into more than 1,100 theaters and jumped an absurd 1,173%, earning about $1.8 million and cracking the Top 10.
That does not make it a blockbuster, but it does make it exactly the kind of specialty-release story we want to keep watching. When a small movie expands and actually grows with the expansion, that usually means somebody out there is talking about it.
And Netflix Continues Its Strange Little Theatrical Experiment
Netflix reported another theatrical gross this weekend for The Mosquito Bowl, which earned $455,000 from 349 theaters. Meanwhile, La Bola Negra made $418,000 from only 38 theaters, producing an impressive $11,000 per-theater average.
A month ago, Netflix reporting theatrical grosses at all felt unusual. Now it is starting to feel like a pattern, and that is worth watching. If the company keeps publicly acknowledging theatrical performance, even selectively, it could signal a meaningful shift in how Netflix treats the box office side of its business.
What’s Next
Halloween weekend was basically the calm before November starts throwing furniture. On November 6, the marketplace gets a serious reset with The Cat in the Hat, Godzilla Minus Zero, Ramayana, Wild Horse Nine, and several other releases arriving at once.
That means You Can See Everything has one week to enjoy finally reaching No. 1 before some very large competition shows up. The movie I am most interested in watching next weekend may be Godzilla Minus Zero. If the goodwill from Godzilla Minus One carries forward, that could become another example of audiences showing up for something that feels distinctive rather than simply familiar. The Cat in the Hat also gives families their first major November play, which means next weekend should look very different.
Monday Morning Box Office Hangover Report Final Pour
Halloween weekend was a box office hangover before Monday even arrived. Moviegoing dropped, no new major release broke through, Street Fighter kept collapsing, and Klara and the Sun practically disappeared. Yet sitting at the top of the chart was a three-hour documentary about Elizabeth Holmes that somehow took three weekends to become the No. 1 movie in America.
That is weird, unpredictable, and exactly why we keep checking the numbers every Monday morning here on the Monday Morning Box Office Hangover Report. 🍸🍿
