I’m actually really excited for this, even with how much Believer sucked, because Mike Flanagan is at the helm and it looks like it’ll be taking a lot of cues from the under-appreciated Exorcist III. However, I’m not entirely sure if it’ll end up making more than Believer did considering Flanagan’s last horror IP film, Doctor Sleep, underperformed financially. I also think even if Martyrs does end up performing really well, Universal’s still gonna have a long way to go before they make back that $400M acquisition bid for the rights to The Exorcist (which is still insane to me, like what?). For now, I’m predicting $25-$30M OW and a $65-$70M DOM total.

One of the most anticipated movies of 2027 after Secret Wars is Frozen III. It's practically a lock at this point to absolutely zoom past the billion dollar club as every other Disney sequel has done before, but how far past that mark can it go?

Well first things first its release schedule is looking extremely positive for it to dominate. Almost zero major competition in its November slot. Secret Wars looks to be the biggest hurdle coming in December, but as we saw last year with Zootopia 2 and Avatar Fire and Ash, Frozen can easily have the advantage of being the big high profile release outside of Secret Wars, especially for families.

Also this movie has the advantage of the time it's coming out. Disney sequels have never been more hot at this moment, and it feels like we get record breakers with each passing year.

Overall here are my early predictions for a guaranteed mega hit.

OPENING WEEKEND:

• Domestic: 145m (3 day) - 245m (5 day) Thanksgiving Record Broken
• International: 265m
  
• Global: 510m (2nd Biggest Animated Opening Behind Zootopia 2)

TOTAL NUMBERS

• Domestic: 585m
• International: 1.15b
• Worldwide: 1.735b (3rd Biggest Animated Movie Of All Time Behind Zootopia 2 and NeZha 2)

With Dune 3 dropping in two months and Avengers Doomsday arriving around the same time, how do you think things will play out at the box office?

Personally, I think both will do really well.
Doomsday has the potential to hit $2.5–3 billion if it’s good, and I can see Dune 3 comfortably clearing $1 billion.

A lot of people on this sub seem to downplay Dune’s potential by talking about earlier films: “Part One only made $400 million” or “Part Two only made $700 million.” But I think that overlooks how much the fanbase has grown. It feels like it’s doubled, even tripled, which is why I expect Part Three to comfortably outperform Part Two.

We’ve already seen films this year break records and blow past expectations. How many people genuinely predicted The Odyssey would be sitting at $1.8 billion right now a lot of people months ago were saying the odyssey wouldnt even break 500M now look🤣

The current pace for the year is $10.24B, which would be the most since 2019, as well as the first year to clear the 11-figure threshold since.

2023 finished with $8.91B, 2024 with 8.57B, and 2025 with 8.66B.

6 months ago, I started working on a new box office site (BoxOfficeWatch) as an alternative to The Numbers and Box office Mojo. I wanted to create something more visually appealing (I use those sites a lot, but the design feels super dated to me), works better on mobile, and has more features. We've come a long way from that initial site (original post is here), and the last month or so has been spent polishing the UI across the whole site to make it even easier to use.

The site now has:
- Over 5000 movie pages with day by day totals for domestic and worldwide grosses, plus a snapshot of the reviews from all major sources all in one view
- Prediction models for each new releases of how much they'll make based on the opening weekend and audience scores/reviews
- Comparison feature - compare any 2,3, or 4 films
- Actor, director, studio and franchise pages
- Create a free account, choose your profile banner image, connect your Letterboxd, and rate any film you see
- Play predict the weekend and top the leaderboard against other players
- Predict a new releases' final domestic total and top the leaderboard
- See the daily, weekend and yearly charts (updated daily)
- A release schedule with opening weekend tracking
- A records page with all major records
- Weekend preview and recap articles
- A web app version that you can add to your phone screen

You can check it out at boxofficewatch.com.

Let me know what else you want to see as I continue adding new features - we've largely built this together over 6 months as you ask for more features - keep the suggestions coming!

Source:

https://numero.co/reports/2026/10/15/verity-holds-top-spot-in-australia-for-second-week

​

Source:

https://numero.co/reports/2026/10/15/heart-of-the-beast-crosses-dollar2m-in-new-zealand

Whalefall is releasing in this Friday. It has a budget $60M which I thought it cost either $30M-$40M. it looks like it may not do that good. I really want this movie to do well. My final prediction is $110M ww. I think overseas will do great. It’s tracking to reach $13M-$15M domestic, I hope it beats it and reaches $25M domestic opening weekend. I hope it has a massive or decent opening and makes profit. Let’s see what happens. What are your final predictions for Whalefall?

I will continue to update this post as reviews come in.

Rotten Tomatoes: Fresh

Critics Consensus: N/A

Metacritic: 97 (21 Reviews)

Sample Reviews:

Bill Goodykoontz, Arizona Republic 5/5 - You’ve seen elements of “You Can See Everything” in documentaries before. But you’ve never seen them combined like this. It’s a true original.

Cary Darling, Houston Chronicle 5/5 - "You Can See Everything" throws into sharp relief audience's expectations while skewering the entire idea of the traditional documentary and its contemporary off-shoot, reality TV.

Tim Grierson, Screen International - Nathan Fielder and Lance Oppenheim’s extraordinary documentary soon goes in unexpected directions, becoming an uneasy treatise on love, reality television, and the ways filmmakers try (and often fail) to capture ’real’ life.

Monica Castillo, AV Club A- - Like Welles used his camera to play tricks on audiences some 50 years ago, Fielder and Oppenheim use their film to shake up their audience’s understanding of how we believe one another.

Liz Shannon Miller, Consequence A - The film is more than an extension of Fielder’s blending comedy and documentary with shows like The Rehearsal — it’s an evolution upon it. It asks everyone involved to look at themselves, and face the difference between perception and reality.

Marshall Shaffer, Slant Magazine 3.5/4 - You Can See Everything innovatively probes this gray area between the fabulations made about Elizabeth Holmes and those made by her.

David Fear, Rolling Stone - You will likely have no idea what you have just seen, besides that it's simply, unabashedly, unashamedly brilliant.

Alison Willmore, New York Magazine/Vulture - In You Can See Everything, the closer we get to her, the less knowable she is — a set of pointillist dots in the shape of a person.

Kristy Puchko, Mashable - You Can See Everything is a masterwork of interrogation, not only of the whole Holmes situation but of documentary as a form itself.

Adrian Horton, Guardian 5/5 - There is something extremely satisfying in watching Fielder’s sharp angles tangle with Holmes’s disposition of guileless warmth, a strange and compelling chemistry building within a reality distortion field.

Nick Schager, The Daily Beast - Not just the film of the year—it’s a documentary that stands shoulder-to-shoulder with the form’s all-time greats.

Kyle Smith, Wall Street Journal - With co-director Lance Oppenheim, Mr. Fielder gets around the restrictions on his access to the locked-up Ms. Holmes with his customary hilarious meta-narrative brilliance.

Tomris Laffly, RogerEbert.com 4/4 - The significance of 'You Can See Everything' is clear as a film that might advance a new cinematic language in the mainstream non-fiction sphere.

Angie Han, The Hollywood Reporter - What begins as a fascinatingly intimate portrait of a deluded or disingenuous scammer reveals as something even wilder, more ambitious and less predictable, until we’re left to ponder what value a personal truth has at all.

Cortlyn Kelly, IndieWire A - For how disquieting it is, the film never goes too long without forcing a laugh.

Owen Gleiberman, Variety - It’s a one-of-a-kind reality-TV-as-hangout-movie psychodrama circus. Yet it’s been made with a spirit of true inquiry, driven by Fielder’s acidly quizzical personality, and it gets its hooks in you.

SYNOPSIS:

Thirty-four days before she’s sent to prison, notorious Silicon Valley founder Elizabeth Holmes invites a skeptical film crew to document her every move. What begins as an intimate portrait of an enigmatic felon becomes a mind-bending three-year journey into the abyss. From boundary-pushing directors Nathan Fielder and Lance Oppenheim comes You Can See Everything.

CAST:

• Elizabeth Holmes as Herself
• Nathan Fielder as Himself
• Billy Evans as Himself

DIRECTED BY: Nathan Fielder, Lance Oppenheim

PRODUCED BY: Nathan Fielder, Lance Oppenheim, Tatiana Bears, Maggie Ambrose, Jack Davis

EXECUTIVE PRODUCERS: Emily Osborne

DIRECTOR OF PHOTOGRAPHY: David Bolen

PRODUCTION DESIGNER: Alex DiGerlando

EDITED BY: Adam Locke-Norton

MUSIC BY: Ari Balouzian

RUNTIME: 174 Minutes

RELEASE DATE: October 16, 2026

Renderings reflect a throwback to how it originally looked when the theater first opened in the 1960s