This week’s Monday Morning Box Office Hangover Report covers the weekend of October 23 to October 25, 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
Clayface took No. 1. You Can See Everything may have stolen the weekend.
DC Studios’ R-rated body-horror swing opened with $24 million domestic, a solid start for a $44 million production and another interesting genre play from the new DC regime. But sitting right behind it was the Elizabeth Holmes documentary You Can See Everything, which somehow increased 25% in weekend two to $19.5 million after expanding nationwide.
That is not normal holdover behavior. That is a movie looking at the standard box office rulebook, setting it on fire, and asking whether anybody brought marshmallows.
Top 5 Domestic Films
(Weekend estimates, October 23 to October 25, 2026)
- Clayface — $24.0M
- You Can See Everything — $19.5M
- Wildwood — $11.78M
- Street Fighter — $8.6M
- Wicker — $5.75M
Weekend Recap
The Top 10 generated about $86.1 million this weekend, led by a very healthy genre mix: comic-book horror, a documentary, animation, video-game action, and an adult comedy. That alone makes this feel like a much more interesting theatrical marketplace than five interchangeable franchise titles fighting over the same audience.
The real headline, though, is that Clayface opened respectably while You Can See Everything turned its limited-release breakout into an even bigger wide-release phenomenon.
One movie won the chart. The other won the conversation.
Highlights and Insights
1) Clayface gave DC Studios a solid, weird little win
Clayface opened to $24 million from 3,458 theaters, with another $19 million internationally, giving it roughly $43 million worldwide out of the gate. The film reportedly cost about $44 million, which puts it in a far more manageable position than some of the giant-budget superhero experiments we have watched struggle over the last few years.
It also earned an A- CinemaScore and generally positive reviews, which matters because this is not exactly Batman punching aliens. It is an R-rated body-horror movie about one of Batman’s stranger villains.
That DC could open something this odd at No. 1 without spending $200 million getting there feels like a healthier kind of superhero business.
2) You Can See Everything did something almost absurd
After opening to $15 million last weekend in fewer than 900 theaters, You Can See Everything expanded to 2,655 locations and jumped to $19.5 million, an increase of roughly 25%. Its domestic total now sits at about $45.1 million after ten days.
That is a stunning hold for any movie, but especially for a nearly three-hour documentary.
And this is now the second weekend in a row where the Elizabeth Holmes film has become the more interesting box office story than the movie sitting at No. 1. A24 has something very strange and very real on its hands.
3) Gen Z keeps making the industry look silly
Last weekend we noted that more than 70% of the audience for You Can See Everything was under 35. This weekend, they came back and brought friends. That matters because the lazy conventional wisdom still says young audiences will not sit through long movies, will not go to documentaries, and would rather consume everything in two-minute bites on their phones.
Except they apparently will sit through a three-hour documentary about Elizabeth Holmes if somebody makes it feel like an event.
The issue was never attention span. The issue was giving them something worth paying attention to.
4) Wildwood opened okay, but the budget is the headache
Laika’s Wildwood debuted in third with about $11.8 million. That is not catastrophic for stop-motion animation, which has always been a tougher theatrical sell. The problem is the reported $100 million production budget. That means Wildwood is going to need strong international numbers, serious legs, and probably a long tail across ancillary markets before anybody starts celebrating.
Beautiful animation is expensive. Apparently very expensive.
5) Street Fighter got absolutely mauled in weekend two
Last weekend’s No. 1 plunged 72% to $8.6 million, bringing its domestic total to about $46.9 million after ten days. There is no way to sugarcoat a 72% drop. That is the kind of second weekend that takes a movie from “possible franchise starter” to “okay, let’s see what international does” very quickly.
The $31 million opening was respectable. The follow-through is not.
6) Wicker quietly had a nice little start
The Olivia Colman and Alexander Skarsgård comedy Wicker opened to $5.75 million from 1,471 theaters, good for fifth place. That does not sound huge next to superheroes and documentaries, but it is a respectable debut for an adult-skewing comedy in a marketplace where those movies often get sent straight to streaming. Sometimes “showed up and found an audience” is a perfectly good weekend.
Who Had the Rough Morning After?
This week, the hangover belongs to Street Fighter.
A 72% second-weekend collapse is ugly no matter how you dress it up. The movie opened at No. 1 with $31 million last weekend. Seven days later, it was down to $8.6 million and sitting in fourth. That is the kind of drop that sends everyone back to the spreadsheet.
And Wildwood gets an honorable mention, not because $11.8 million is embarrassing, but because $11.8 million looks a lot smaller when there is a reported $100 million production budget standing behind it holding a calculator.
One More Box Office Hangover
Klara and the Sun opened to just $725,000 from 880 theaters, for a per-theater average of only about $824. That is rough.
Not every prestige title is going to find its audience theatrically, and this one looks like it may have arrived without enough urgency, awareness, or reason for people to leave the couch. Sometimes good pedigree is not enough. You still have to make people care right now.
What’s Next
The movie to watch next weekend is still You Can See Everything.
At some point, logic says the thing has to drop. Right?
But after opening huge in limited release and then growing another 25% in weekend two, the normal assumptions are getting harder to trust.
Clayface, meanwhile, has a very different test ahead. A $24 million opening is a good start, but with an A- CinemaScore and positive buzz, it needs a respectable second-weekend hold to prove this was more than opening-weekend curiosity.
And Street Fighter has already entered salvage mode. The question now is not whether it holds well. It did not. The question is whether worldwide grosses can rescue the franchise conversation.
Final Pour
This weekend was another reminder that the box office is getting interesting again because audiences are refusing to behave predictably. Clayface turned an obscure comic-book villain into a No. 1 movie. You Can See Everything somehow made more money in weekend two than weekend one. Wildwood reminded us stop-motion animation is both beautiful and terrifyingly expensive. And Street Fighter went from first place to a 72% hangover in seven days.
That is not boring.
And boring is the one thing theatrical absolutely cannot afford to be. 🍸🍿
