The Weekend POURcast has more horror, and your chance to see more of You Can See Everything.
Welcome to the Weekend POURcast, your boozy guide to the box office.
Every Friday, we serve up what’s new in theaters and on streaming, movies only, paired with a curated cocktail suggestion to match the weekend.
With Halloween now just a week away, the box office has finally decided to get properly strange.
This weekend gives us DC body horror, stop-motion fantasy from LAIKA, artificial intelligence courtesy of Jenna Ortega and Kazuo Ishiguro, the return of Ali G, Olivia Colman falling in love with a man made out of wicker, and Helen Mirren channeling Patricia Highsmith.
And somehow, one of the biggest movies on the board may still be a three-hour documentary about Elizabeth Holmes.
October, you beautiful weirdo.
Last Weekend in Review
Street Fighter won last weekend with $30.8 million, landing almost exactly where tracking suggested it would. That is a respectable opening for a video-game adaptation built heavily around millennial nostalgia, even if the audience skewed older than Paramount probably expected.
The real shock came one spot below it.
A24’s You Can See Everything, Nathan Fielder and Lance Oppenheim’s nearly three-hour documentary about disgraced Theranos founder Elizabeth Holmes, opened to an extraordinary $15.6 million from only 855 theaters. That works out to more than $18,000 per theater and instantly turned a weird documentary experiment into one of October’s biggest stories.
Other Mommy fell hard in its second weekend, dropping more than 70% to $8.2 million. Whalefall opened with $7.8 million, while Sense and Sensibility followed closely behind with $7.2 million.
The lesson from last weekend may be fairly simple: people will still go to theaters for something that feels like an event, but “event” does not necessarily mean superheroes, explosions, or recognizable IP anymore. Sometimes it means watching Nathan Fielder spend three hours trying to figure out whether Elizabeth Holmes believes her own lies.
This weekend is going to test that theory.
New in Theaters This Weekend
Clayface
This is the obvious headline.
Warner Bros. and DC Studios are taking one of Batman’s strangest villains and turning him into an R-rated body-horror movie, which is probably not the sentence anyone expected to be writing about the DC Universe five years ago.
Tom Rhys Harries stars as Matt Hagen, an actor whose disfigurement leads him into an experimental treatment that transforms his body into something unstable, malleable, and increasingly monstrous. Naomi Ackie, Eddie Marsan, and Max Minghella co-star, with James Watkins directing.
The smartest thing about Clayface may be that it does not appear particularly interested in being a conventional superhero movie. Early reviews have praised the prosthetic effects, the body horror, and the fact that you do not need to complete twelve hours of franchise homework before buying a ticket.
Current tracking puts the opening between $25 million and $30 million, which should be enough for No. 1.
But there is one very strange complication.
Elizabeth Holmes.
You Can See Everything
Technically, this is not a new release. It opened last weekend.
But this weekend is when it becomes a national box office player.
A24 is expanding You Can See Everything from 855 theaters to more than 2,500 after its remarkable $15.6 million debut. The movie follows Nathan Fielder and filmmaker Lance Oppenheim as they document Elizabeth Holmes beginning just over a month before she reports to prison.
What starts as a portrait of one of Silicon Valley’s most infamous figures apparently becomes something considerably stranger as Fielder finds himself pulled deeper into Holmes’ version of reality.
Roughly 70% of last weekend’s audience was under 35, which may be the most fascinating number attached to the entire movie. A three-hour Elizabeth Holmes documentary has somehow become Gen Z counterprogramming.
Boxoffice Pro currently has it earning another $15 million to $20 million this weekend, with the possibility of actually increasing from its opening.
If that happens, Hollywood may have to spend Monday morning explaining how Elizabeth Holmes nearly beat a Batman villain.
Good luck with that meeting.
Wildwood
LAIKA is finally back.
The studio behind Coraline, ParaNorman, Kubo and the Two Strings, and Missing Link returns with its first new feature in seven years.
Wildwood follows Prue, a young girl who journeys into a mysterious hidden forest to rescue her kidnapped younger brother. Inside, she discovers warring factions, strange creatures, and an entire magical world existing just beyond the ordinary one.
Peyton Elizabeth Lee, Jacob Tremblay, Carey Mulligan, Mahershala Ali, Angela Bassett, and several other familiar voices populate the cast, with Travis Knight returning to direct.
This feels like ideal October family counterprogramming. It is dark without being full-on horror, visually distinctive, and coming from a studio that has built an intensely loyal following.
Tracking has cooled slightly, currently landing around $6 million to $10 million. Still, strong reviews and audience response could give it much better legs than the opening suggests.
Klara and the Sun
Jenna Ortega plays an artificial friend in Taika Waititi’s adaptation of Kazuo Ishiguro’s bestselling novel.
Klara is an AI companion waiting to be chosen by a family when she meets Josie, a seriously ill young girl who immediately forms a connection with her. Amy Adams plays Josie’s mother, with Steve Buscemi and Natasha Lyonne also in the cast.
This is science fiction, but not the spaceships-and-lasers variety. It is really a story about loneliness, love, technology, mortality, and what happens when something artificial may understand human connection better than the humans around it.
The material has literary prestige, Ortega brings a younger audience, and Adams gives it another layer of adult appeal.
Box office tracking currently sits around $6 million to $10 million, which feels reasonable for something this thoughtful arriving in the middle of an October genre pileup.
Ali G: Who Iz I?
Booyakasha.
Sacha Baron Cohen has apparently decided that what 2026 desperately needs is Ali G wandering around America again.
More than two decades after the character became a cultural phenomenon, Cohen returns as Ali G in a new comedy built around the character interacting with real people while attempting to reclaim his former relevance.
The interesting question is whether audiences who loved Ali G twenty years ago still want him now, and whether younger audiences even know what they are looking at.
Current forecasts are modest, somewhere around $4 million to $7 million, but comedy remains notoriously difficult to track. If clips start circulating online, this could easily outperform expectations.
Or everyone could collectively decide 2002 should remain safely sealed inside 2002.
We will find out.
Wicker
And now for the movie about Olivia Colman falling in love with Alexander Skarsgård after he is constructed out of wicker.
Yes, really.
Colman plays a socially ostracized fisherwoman living outside a rigid seaside village. Frustrated with the community and her romantic prospects, she commissions a basket weaver, played by Peter Dinklage, to build her a husband.
The result is Skarsgård.
Honestly, worse plans have been attempted.
The strange relationship begins upsetting the conservative village, turning the movie into a fantasy romance, comedy, and social satire all at once.
Wicker is exactly the kind of oddball movie October should have more of. It may not challenge Clayface for the top of the box office, but between Colman, Skarsgård, Elizabeth Debicki, Dinklage, and Richard E. Grant, the cast alone makes it difficult to ignore.
Also Arriving in Theaters
Helen Mirren becomes Patricia Highsmith in A Talent for Murder, a chamber thriller about a young literary agent traveling to Switzerland to convince the famously difficult author of The Talented Mr. Ripley to write one final book.
Alden Ehrenreich plays the agent, with Olivia Cooke also starring. Reviews have been strong so far, and for anyone looking for something smaller, darker, and more adult than the weekend’s franchise fare, this may be one of the strongest choices on the board.
Several limited releases also arrive this weekend, including Human, Love Language, Possible Love, Terrestrial, and The Only Living Pickpocket in New York. BTS also arrives in theaters Saturday with a live viewing of the group’s Arirang world tour stop in Buenos Aires.
Basically, if you cannot find something to watch this weekend, the problem may no longer be the movies.
Box Office Forecast: October 23rd-25th, 2026
1. Clayface
$26M to $31M
The DC connection gets people in the door, but the horror angle may be what actually sells this thing.
A strong opening would also give DC an interesting lesson after Supergirl struggled this summer: smaller, stranger, genre-specific movies may be a better use of second-tier comic characters than trying to turn every one of them into a $200 million superhero spectacle.
2. You Can See Everything
$17M to $21M
Yes, I think this thing could actually increase.
The theater count is nearly tripling, weekday numbers have remained strong, younger audiences are driving the conversation, and curiosity is spreading.
If it breaks $20 million, this becomes one of the strangest box office success stories of 2026.
3. Street Fighter
$9M to $13M
Last weekend’s $30.8 million opening was solid, but video-game adaptations tend to fall sharply after their nostalgia audience arrives.
A roughly 60% drop feels realistic.
4. Wildwood
$7M to $11M
The opening may not be enormous, but LAIKA movies tend to have passionate audiences and long lives.
Strong word of mouth could matter more here than the first three days.
5. Klara and the Sun
$6M to $9M
Jenna Ortega should provide a floor, and the Ishiguro name gives the film prestige appeal.
The challenge is convincing audiences that thoughtful science fiction belongs on a big screen when the theater next door has a man melting into clay.
October Horror Check
Halloween is eight days away, and Clayface arrives at exactly the right moment.
What is interesting is how little the movie appears to resemble the usual superhero formula. This is not Batman fighting a mud monster. It is an R-rated transformation story leaning directly into body horror.
That puts it closer to The Fly than The Batman, which is probably the smartest creative decision Warner Bros. could have made.
Horror has spent most of 2026 proving that audiences want variety. Obsession, Backrooms, Resident Evil, Other Mommy, and now potentially Clayface have all approached the genre from completely different directions.
The genre is not succeeding because audiences want the same thing repeatedly. It is succeeding because horror remains one of the few corners of mainstream filmmaking where audiences still expect to be surprised.
A DC movie being one of the weirdest films opening this weekend feels like progress.
New Movies on Streaming This Weekend
The streaming movie slate is considerably lighter than the theatrical side this week, but there are still a few new arrivals worth noting.
Netflix premieres Paralyzed by Hope: The Maria Bamford Story on Friday. Directed by Judd Apatow and Neil Berkeley, the documentary follows Bamford’s career while also digging into the mental-health struggles and family relationships that shaped both her life and her comedy.
Netflix also adds Surviving Hurricane Otis, a documentary about two brothers fighting to survive the devastating hurricane in Acapulco, along with the original movie Gajab Raat.
Rotten Tomatoes’ newest-at-home listings also show several October 23 streaming debuts, including The Cycle, Shaun the Sheep: The Beast of Mossy Bottom, Love Language, Human, The Heart, The Exit State, Drone Games, and Facade.
Prime Video also adds The Bride! this weekend following its theatrical run.
So this is one of those weekends where the theaters clearly have the stronger hand. If you have been waiting for an excuse to get off the couch, Hollywood has provided several.
Weekend POURcast Drink Pairing: Italian Mutation
For this Weekend POURcast, are going back into the Cocktails and Movies vault for Italian Mutation.
There may not be a more appropriate name for a weekend led by Clayface.
The movie is literally about a man whose body undergoes an experimental transformation until flesh, identity, and physical form start becoming disturbingly negotiable.
Mutation is not subtext here. It is the sales pitch.
The drink also fits the broader weekend better than you might expect. Klara and the Sun questions what makes something human. Wildwood steps into a transformed hidden world. Wicker gives Olivia Colman an artificial husband made from branches.
Apparently everyone is becoming something else this weekend.
Might as well pour accordingly.
Final Pour
This is the kind of weekend that the Weekend POURcast exists for.
There is no single flavor dominating the multiplex. You can watch grotesque DC body horror, disappear into a handcrafted LAIKA forest, spend two hours thinking about artificial intelligence and human connection, watch Olivia Colman romance a wicker man, revisit Ali G, or spend nearly three hours wondering whether Elizabeth Holmes has somehow convinced Nathan Fielder that she is the reasonable person in the room.
And that documentary might finish second at the box office.
Movies are fun when they get weird.
This weekend gets weird. 🍸🍿
