Nathan Fielder and Lance Oppenheim's Elizabeth Holmes documentary "You Can See Everything" earned more than $15 million in its limited opening weekend, making it one of the biggest documentary launches in decades and the strongest opening for a film on fewer than 1,000 screens since Borat in 2006. It was also "the biggest non-music documentary since 'Fahrenheit 9/11' in 2004," adds CNN. From the report: Many weekend screenings in cities like New York and Los Angeles were sold out despite the three-hour running time. The film's distributor, A24, called it "one of the largest limited-release openings of the 21st century." "You Can See Everything" opened on fewer than 900 screens following a jaw-dropping surprise premiere at the Telluride Film Festival last month. Fielder and Oppenheim worked on the project in secret for years, filming with Holmes and her partner Billy Evans in the weeks before Holmes went to prison in 2023. Holmes was convicted of wire fraud and conspiracy to defraud Theranos investors, but she tried to convince the filmmakers of her innocence. Fielder, who appears on camera interviewing Holmes and Evans, takes the film in unexpected directions, thrilling critics and theatergoers. The film has an extraordinarily high 99% "fresh score" on Rotten Tomatoes and a record-high 4.8 rating on Letterboxd. Further reading: Will New Documentary Make Theranos Founder Elizabeth Holmes More Sympathetic?

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Why didn't The Social Reckoning enjoy the box office success of 2010's The Social Network, asks IndieWire/A>: [T]here wasn't the same urgency in the story being told. The Social Reckoning focuses less on Zuckerberg, and more on data engineer Frances Haugen's decision to blow the whistle on how Facebook's algorithms were promoting political content that radicalized users, as well as the company's awareness of how its products were contributing to a rise in bullying and teen suicide... [B]ut The Social Reckoning arrives as a much greater threat has emerged from Silicon Valley. Artificial intelligence is dominating the headlines, as fears mount about the economic disruptions it will unleash when millions of jobs are replaced by machines, and, graver still, its potential to trigger a world-ending event... And it's not like Haugen's testimony led to lasting change at Facebook... As IndieWire's Ryan Lattanzio put it, "'The Social Reckoning' argues that the aftermath of their whistleblowing is still somehow felt today. In actuality, living as we do in 2026, it pretty much feels like... no one cared, and nothing changed?" After the first movie's director bowed out, Sony Pictures shied away from selling it as a sequel — but the problems run deeper, the article adds. "The Social Reckoning isn't just a financial failure, it's a critical one, too. The reviews were blistering..." Although on the bright side, "Sony wisely kept The Social Reckoning's budget at $30 million, meaning it won't face losses on the scale of a Digger... " Variety writes that Digger "cratered in its second weekend with $3.2 million from 3,321 theaters, a 60% decline from its dismal $8 million debut. So far, the Tom Cruise satire has limped to $14 million domestically and $35.3 million globally. Warner Bros. spent above $160 million to produce the film, which is shaping up to be one of the biggest bombs ever..."

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James Cameron's Avatar is no longer the highest-grossing movie in box office history. That honor now goes to the Disney/Marvel Studios film Avengers: Endgame. Variety explains: "Avatar" spent a decade as the biggest release ever until "Avengers: Endgame" overtook the record in 2019 during its initial run on the big screen. "Endgame" dropped to No. 2 on all-time charts in 2021 when "Avatar" returned to theaters in advance of 2021's "Avatar: The Way of Water." Five years later, and Earth's Mightiest Heroes have triumphed over the Na'vi again. Disney is popping Champagne no matter which big-screen behemoth claims the No. 1 spot. "Avatar" was released by 20th Century Fox, which Disney now owns after the companies merged in 2019... [Last week's] re-release of "Endgame" has generated more than $126 million worldwide. Together the 38 Marvel Studios movies "have generated more than $35 billion worldwide," notes an announcement on Disney's web site, "making the Marvel Cinematic Universe the most successful film franchise in history." Their announcement adds that Disney "is responsible for seven of the 10 highest-grossing films of all time." That list also includes James Cameron's Titantic and his first two Avatar movies, but also this summer's Spider-Man: Brand New Dayand the earlier film Spider-Man: No Way Home, plus Marvel's 2018 film Avengers: Infinity War. Also among the top-10-of-all-time are Star Wars: The Force Awakens (2015) at #7 and last year's Zootopia 2. Meanwhile Coyote vs. Acme was released for rent or purchase on streaming platforms Tuesday, and became the No. 1 most-watched movie in the Apple TV store for America and Canada, according to CBR. (Citing a report from FlixPatrol ) "On Rotten Tomatoes, Coyote vs. Acme has a near-perfect 96% Certified Fresh Tomatometer score based on critics' reviews, and a similar 94% Verified Hot Popcornmeter score based on audience reviews... Frank Scheck from The Hollywood Reporter called it "one of the best live-action/animation films ever." Preorders have just opened for its DVD and 4K disks, and Coyote vs. Acme is also coming to Blu-ray writes IGN, "along with some hilarious outtakes that he described as 'not PG-rated.'" Celebrating the film's $100 million box office take last week, the movie's distributors posted a very Coyote-like koan on social media. "It's only over when you stop trying."

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The movie Coyote vs. Acme earned more than Warner Bros.' $30 million tax write-off in just two weeks. And last week the movie officially earned more than its production budget of $70 million. But today the movie passed the $100 million mark. "You asked for it, we delivered, and you showed up!" distributor Ketchup Entertainment posted on social media (adding "Thank you to the fans for making this a massive hit!") With a break-even number of $120 million, the movie "will probably make up any theatrical deficit (should there be any) with its impending releases on video on demand and streaming," writes ScreenRant. Almost three years after the completed film was initially shelved for a $30 million write-off, its cumulative domestic box office has apparently even beat Warner Bros. dinosaur movie The End of Oak Street: In addition to officially joining the chart of the Top 30 movies of the year so far at the domestic box office, by surpassing The End of Oak Street, Coyote vs. Acme has outgrossed five of the eight movies that Warner Bros. has put out in domestic theaters this year.... [It's just $17.6 million behind Supergirl, and within $30 million of Mortal Kombat II and Wuthering Heights.] Their anticipated sci-fi sequel Dune: Part Three also seems guaranteed to land higher than 2026's Coyote vs. Acme on the chart (2021's Dune earned $108.9 million in domestic theaters, while Dune: Part Two earned $282.1 million). With its a small marketing budget of just $10 million, the movie seems to be relying on oddball marketing stunts like their AMA on Reddit's r/movies. And commemorating the spirit of the movie, Crayon-maker Crayola even released a special "Coyote Secret Plan" web page for children to print and color — and partnered with the film's stars for a video on the importance of creativity: Lana Condor: Crayola is all about encouraging kids and grown-ups to turn imagination into action. Will Forte: Which is exactly what Coyote does in Coyote versus Acme. He sees a problem and thinks, "Could this be solved with a rocket, a catapult, or a suspiciously affordable mail order anvil?" Lana Condor: Usually no. Will Forte: Usually very no.

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An anonymous reader quotes a report from TechCrunch: Telluride just managed one of its best-kept secrets in years, per The Hollywood Reporter. On Sunday night, festival-goers filed into a 650-seat theater with their phones locked away, having no idea what they were about to see, told only that it ran nearly three hours, hadn't been shown anywhere, and that its principal creators would be in the audience. The surprise premiere they went on to enjoy is a new documentary from co-directors Nathan Fielder and Lance Oppenheim about Theranos founder Elizabeth Holmes. Called "You Can See Everything," the film is said to capture Holmes and her husband, Billy Evans, in the 34 days before she reported to federal prison in May 2023 to begin an 11-year sentence for defrauding investors about her blood-testing technology. Since then, her legal fight has limped along without success. Her appeals to overturn the conviction and shorten her sentence were rejected in February of last year. She then went a different route last year, asking President Trump to commute her sentence. That clemency petition is still listed as pending, meaning it's officially been opened and remains under review. Fielder apparently lived in the couple's guest house during filming -- the access they provided sounds shocking -- but some of the buzz also ties to an A-list actress who becomes part of the story itself. A24 is set to release the film in October. You can watch a trailer for the film on YouTube.

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Inverse shares a movie success story from last weekend: Coyote vs. Acme debuted to $15.9 million at the box office, beating out iconic director Ridley Scott's latest sci-fi adventure, The Dog Stars. This success has only continued since, and the worldwide box office currently sits above $22 million. Strong reviews and word-of-mouth are sure to keep viewers coming in, especially during the holiday weekend. What's impressive is Coyote vs. Acme had a limited marketing campaign that includes viral stunts. They photographed the movie's world premiere with a vintage Tasmanian Devil polaroid camera, and launched a phone number for the law firm suing Acme. ("If you've been injured by an enormous rubber band, press 7. If you've been injured by painted train tunnel that suddenly sprang to life, press 8...") And Cartoon Brew reports that Wednesday "the famously silent Looney Tunes star participated in an AMA on Reddit's r/movies, answering questions about his career, his relationship with the Road Runner, and the Warner Bros. executive who nearly prevented audiences from seeing his latest movie." In keeping with tradition, Wile E. delivered his responses through images of himself holding signs. The format produced several interesting and occasionally thought-provoking exchanges, but one obvious highlight came when a user asked: "Rumor has it that David Zaslav was paid off by ACME to cancel your film; what is your opinion on this?" Wile E.'s response was an image of the coyote glaring at the camera while holding a sign that read, "It's a limited number of signs," pulled from a scene in the film when Mr. Coyote first meets his eventual attorney Kevin Avery, played by Will Forte. Meanwhile, Boing Boing cites local news reports that a Southern California bird watcher Alexander DeBarros has actually captured a photo of a coyote holding a roadrunner bird in its mouth: In an incredible coincidence that is a movie publicist's dream, he snapped the rare, possibly unprecedented, photo on the opening weekend of the movie Acme vs. Coyote... In an even more incredible coincidence, DeBarros's father, Brian Mainolfi, is an animator whose first job in the field was working for Chuck Jones, the creator and director of the Roadrunner cartoon series. Cartoon Brew notes a Reddit user specifically asked the Coyote for his reaction to the news. Wile E. responded with some unexpectedly healthy advice: "We cannot judge our worth on the work of others." Aftermath calls the movie "a well made, deeply funny movie that pays a deep respect to the Looney Tunes in a way that Warner Brothers currently seems uninterested in doing."

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The Los Angeles Times first calls Ridley Scott's newest movie "a postapocalyptic thriller that trades zombies for pandemics and asks whether hope can outlast catastrophe." But besides The Dog Stars, Scott is also working on an adaptation of Robert Louis Stevenson's "Treasure Island" starring Hugh Jackman, and is thinking about turning one of his past films into a musical. ("I can't tell you which one because they're being difficult.") The common theme, they suggest, is a director who allows his stories to "speak through evocative, immersive images rather than unnecessary exposition." The British director says it's because he got his start in advertising after attending the Royal College of Art in London. After 1982's neon-coated sci-fi thriller "Blade Runner," Scott notably made the iconic Apple Macintosh computer ad "1984," a memorable Orwellian-themed clip that contained suggestions of the dystopias that would continue to fascinate Scott in his filmmaking. "Advertising in England at that point became a competitive art form," he says, pointing to the notorious "Adland Five," a group of directors that included Hugh Hudson, Adrian Lyne, Alan Parker, Scott and his brother Tony. "I've got a show reel which is 50 years old which would entertain the s — out you. Hasn't aged at all. Our visual drive changed the face of how films looked." That's apparent in Scott's latest, "The Dog Stars" (in theaters Friday), a film about survival after the end of the world. It's based on Peter Heller's 2012 novel and set in Colorado 10 years in the future after an aggressive flu has decimated much of the population. Those remaining alive use any means necessary to stay that way, resulting in instability, brutality and, more hopefully, connection... These days, Scott develops movies with his production company, Scott Free, which he founded with his late brother Tony in 1995. Before that he says he struggled to find good scripts. And rarely has someone handed one to him. "I've only ever had three films land on my desk," he says. "One was 'Alien,' which I was fifth choice for after Robert Altman." He makes a face. "Can you imagine offering Robert Altman 'Alien'? How stupid can you get?" Another was 2015 space adventure "The Martian," which Scott says had been sitting on a shelf for two years before it was sent to him. Scott's grounded, semi-comedic take on Andy Weir's novel resulted in seven Oscar nominations. The third screenplay to materialize was "The Dog Stars." "I read it and I was blown away," Scott says. Deadline notes that Scott is already re-writing the third prequel to Alien, citing Scott's comments to French outlet AlloCiné. "The one that just came out [2024's Alien: Romulus] was OK. I think it needs some help. So, I've gone back in." Scott continued, "I've already got a footprint for the next Alien.... I'm picking up where we left off in Covenant with Micheal Fassbender, who now thinks he's Ozymandius." With the sequel bringing back Fassbender's futuristic AI droid, Scott sees an opportunity to explore the repercussions of artificial intelligence in our current world. "I like the fact that AI has gone off the rails," said Scott of where the character is at the end of Covenant. "If we go AI, the moment we discover it's off the rails is too late. It could switch every digital thing off in the world like that. You'd have fucking chaos. It's that kind of stuff that's scary." Scott tells the Los Angeles Times that the malfunctioning AI character fascinates him, and in the movie will be creating a "brave new world for himself... AIs can go off. And if they do, it's like a bomb..." So far, Scott says he hasn't implemented AI technologies into his filmmaking. He holds up his "Treasure Island" Ridleygrams [hand-drawn storyboards] and shakes them at the camera. "I can compete with an AI without any problem making images," he says. "But it's coming, inevitably." Scott was not involved in the forthcoming Prime Video series "Blade Runner 2099," out in November. "I can't blame my lawyers and my agents at that time, but somehow we let 'Blade Runner' go," he says. "And when you're not the author of the actual written word, you don't have a piece." (He was more involved in Noah Hawley's recent "Alien: Earth" series, which he calls "pretty damn good....") Does that mean he thinks about his legacy as a filmmaker? He does, but not often. "When you think of your legacy, you're too near the end," Scott says. "I'm not near the end." He looks up from his drawings. "I've had a riotous time," he says. He corrects himself: "I'm having a riotous time."

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