Leading the charge is DC's new horror entry, Clayface. Directed by James Watkins and featuring a script from horror maestro Mike Flanagan, the villain origin story got off to a robust start with $3.5 million in Thursday previews. Starring Tom Rhys Harries as the shape-shifting Matt Hagen, alongside Naomi Ackie, Max Minghella, and Eddie Marsan, the film is projected to rake in an impressive $45 million to $55 million globally in its opening weekend. Its buzz-worthy, creepy promotion and R-rated body horror elements appear to be capitalizing effectively on the Halloween season, especially given its reportedly leaner budget.
In stark contrast, Laika's long-awaited stop-motion epic, Wildwood, faces a more challenging path. Despite the studio's celebrated track record with films like Coraline and Kubo and the Two Strings, and a reportedly positive critical reception (a Certified Fresh 100% on Rotten Tomatoes), its domestic opening is projected to be a modest $6 million to $8 million. This figure is particularly disappointing considering its substantial $100 million budget. The Travis Knight-directed adaptation of Colin Meloy and Carson Ellis' fantasy novel, which follows teenager Prue McKeel into a fantastical, war-torn woods to find her kidnapped brother, features a voice cast including Peyton Elizabeth Lee, Jacob Tremblay, and Carey Mulligan. Despite high audience scores of 98%, the film seems to be struggling to find its footing at the box office.
The third major new release, Taika Waititi's Klara and the Sun, is also struggling to make a significant impact. The adaptation of Kazuo Ishiguro's novel, starring Jenna Ortega as the titular Artificial Friend and featuring Amy Adams, Natasha Lyonne, and Steve Buscemi, is projected to earn only around $2 million this weekend. Critical reception for Klara and the Sun has been less favorable, currently holding a 24% score on Rotten Tomatoes. The film depicts a sci-fi dystopia where an AI companion combats loneliness, but its quiet narrative hasn't resonated widely with critics or, so far, with audiences.
Adding another layer of complexity to the weekend's box office landscape is the unexpected resurgence of You Can See Everything. The Elizabeth Holmes documentary, a collaboration between Nathan Fielder and Lance Oppenheim, defied expectations last weekend with a strong $15.6 million debut. As it expands into more theaters this weekend, projections place its domestic earnings in the $20 million to $25 million range, positioning it as a serious contender to go "blow-for-blow" with Clayface for the top spot. This documentary's sustained momentum highlights the unpredictable nature of audience preferences outside of traditional blockbuster fare.