Hollywood loves a good plot twist, and this Halloween weekend delivered one that even the most imaginative screenwriter might have struggled to invent.

A documentary about disgraced Theranos founder Elizabeth Holmes narrowly defeated a DC Comics horror film, stop-motion animation demonstrated staying power, and the North American box office experienced one of its quietest weekends of the year.

Meanwhile, a familiar Japanese monster is preparing to stomp into theaters. Here’s what’s making movie headlines.

BOX OFFICE SHOCKER — A DOCUMENTARY BEATS A DC VILLAIN

The documentary You Can See Everything, from Nathan Fielder and Lance Oppenheim, captured the top spot with an estimated $10.6 million in its third weekend, narrowly surpassing Clayface, which earned $10.4 million.

The Elizabeth Holmes documentary has now accumulated approximately $63.9 million domestically against a reported $7 million production budget.

That’s a remarkable theatrical achievement for nonfiction storytelling, particularly in a marketplace dominated by franchises and familiar intellectual property.

And there’s a delicious irony here: on a weekend dedicated to fright, audiences apparently found the true story of Silicon Valley deception more compelling than a fictional monster.

DC’S ‘CLAYFACE’ — SECOND PLACE, BUT THE STORY ISN’T OVER

Clayface fell 57% in its second weekend, bringing its domestic total to approximately $44.1 million against a reported $44 million production budget.

Those figures alone do not determine profitability. Marketing expenses, international receipts and the division of theatrical revenue between studios and exhibitors all complicate the financial picture.

More interestingly, the film’s performance raises questions about the commercial potential of smaller-scale comic-book adaptations built around horror rather than traditional superhero spectacle.

Its eventual outcome will depend on how well it holds as November’s theatrical competition intensifies.

‘WILDWOOD’ — STOP-MOTION ANIMATION FINDS ITS FOOTING

LAIKA’s Wildwood finished third with an estimated $7.5 million, declining a comparatively modest 39% in its second weekend.h

That gentler drop suggests the film is maintaining audience interest better than some of its competitors.

For a studio committed to the painstaking art of stop-motion animation, that resilience matters. LAIKA’s distinctive visual craftsmanship offers a welcome alternative to an increasingly standardized animated landscape.

Its continued theatrical performance will be worth following.

‘STREET FIGHTER’ AND ‘WICKER’ ROUND OUT THE TOP FIVE

Wicker placed fourth with approximately $4.1 million, followed by Street Fighter at $3.2 million.

The rankings underline a familiar lesson: recognizable titles can attract initial curiosity, but sustained box-office success depends on audience enthusiasm beyond opening weekend.

Brand recognition gets people through the door. The movie itself must give them a reason to keep talking.

THE INDEPENDENT SPOTLIGHT — ‘THE ONLY LIVING PICKPOCKET IN NEW YORK’

The independent feature The Only Living Pickpocket in New York entered the domestic top ten after expanding into more than 1,000 theaters.

Its estimated $1.9 million weekend may seem modest beside the major studio releases, but wider theatrical exposure remains meaningful for independent filmmaking.

A healthy film culture needs more than blockbusters. It needs smaller stories, unconventional voices and theaters willing to give them room.

COMING FRIDAY — ‘GODZILLA MINUS ZERO’

One of November’s most intriguing theatrical arrivals is Godzilla Minus Zero, scheduled for Friday, November 6.

The Japanese monster franchise has demonstrated an enduring ability to reinvent itself across generations, moving between spectacular destruction and stories of national trauma, survival and collective responsibility.

Whether the new installment can help energize a sluggish marketplace remains an open question. But its arrival gives exhibitors a major new title to promote heading into the weekend.

ALSO ARRIVING — KJ APA BECOMES JAMES STEWART IN ‘JIMMY’

Another November 6 theatrical release takes audiences back to Hollywood history.

KJ Apa stars as James Stewart in Jimmy, a biographical drama directed by Aaron Burns and distributed theatrically through Fathom Entertainment.

The film explores Stewart’s transformation from Academy Award-winning actor to decorated World War II combat pilot, and his eventual return to Hollywood, where It’s a Wonderful Life would become one of his defining films.

The ensemble includes Jason Alexander as Louis B. Mayer, Max Casella as Frank Capra and Christopher McDonald as Lionel Barrymore.

This is a previously announced release, not a new casting development, but it deserves attention as the film approaches theaters.

THE BIG PICTURE — A SLOW WEEKEND IN AN OTHERWISE STRONGER YEAR

According to the Associated Press, Halloween weekend generated less than $56 million in total North American ticket sales, making it the second-lowest-grossing weekend of 2026 at the time of reporting.

Yet domestic box-office revenue remains more than 17% ahead of the comparable period in 2025, approaching $8.5 billion.

That contrast is important. One weak weekend does not establish an industry-wide decline, just as one blockbuster cannot guarantee lasting recovery.

The more revealing question is whether theaters can maintain consistent attendance across a diverse range of films, rather than depending on a handful of giant releases.

Manny’s Final Take

What fascinates me most about this weekend isn’t simply that a documentary defeated a comic-book movie. It’s the unpredictability of the audience itself.

Hollywood can spend millions studying consumer behavior, calculating franchise recognition and predicting theatrical demand. Yet audiences still have the final word.

And sometimes, the story that wins isn’t the one with the biggest monster. It’s the one with the most extraordinary truth.

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