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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After Joss Whedon’s arrival, back in the news with comments from Ben Affleck, the franchise lost a sense of earnest passion that could have sustained a weary DCEU

Nine years after superhero epic Justice League arrived in cinemas, there ought to be very little left to say about how it all went wrong. Zack Snyder shot the film, Joss Whedon substantially rewrote and reshot it, and audiences eventually got to see both men’s versions. Any debate over their relative merits long ago disappeared. Whedon is pretty much cancelled; Snyder has reinvented himself as the writer-director of extremely average ersatz Star Wars movies for Netflix, and an entirely new DC universe is under way that has very little to do with either of them.

To a greater or lesser extent, the world has moved on. But Ben Affleck’s latest comments raise an uncomfortable question about whether Snyder’s departure was ever presented honestly. Speaking to Josh Horowitz on the Happy Sad Confused podcast, Affleck, who played Batman, described the Justice League reshoots as the lowest point of his career, but reserved his strongest criticism for the circumstances of Snyder’s departure. The director stepped away in May 2017, two months after his daughter Autumn killed herself, aged 20, with the public explanation that he needed to be with his family. Affleck, however, alleged that studio Warner Bros had used the tragedy to justify replacing him. “The way in which that was, I thought, used as an excuse was one of the shittiest things I’ve ever seen,” Affleck said. “It was so gross.”

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© Photograph: Warner Bros./Allstar

© Photograph: Warner Bros./Allstar

© Photograph: Warner Bros./Allstar

The streamer’s share price is down more than 40 percent over the last year as the company has struggled with stalling engagement.

© Mario Tama/Getty Images

He cut his teeth playing rock stars and pretty posh boys. Speaking from his LA home, the actor talks about landing his first blockbuster lead in the grisly DC horror. Will it be too shocking for comic book fans?

Exactly 13 years ago this month, Tom Rhys Harries was hanging by his ankles from a meat hook every night. Playing a teenage rock’n’roll idol abducted by gangsters in a revival of Jez Butterworth’s Mojo, Harries was fresh out of drama school and the only unknown in a cast led by Ben Whishaw and Rupert Grint. The Guardian’s Michael Billington likened him to “an embryonic Elvis”.

Now the 36-year-old Cardiff-born actor has the title role in Clayface, a violent DC Comics supervillain blockbuster set in Batman’s stomping ground, Gotham City. This puts him in the company of fellow Brits in the comic-book universe, such as Tom Holland (Spider-Man), Robert Pattinson (Batman) and David Jonsson, recently announced as the new Black Panther. “I felt ready to do this,” says Harries. “Had I been younger, I’d have been suffocated by the insecurity of wanting to do a good job but not having that quiet trust in getting there.”

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© Photograph: Austin Hargrave

© Photograph: Austin Hargrave

© Photograph: Austin Hargrave

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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Jeremy Strong in “The Social Reckoning,” Jesse Eisenberg in “The Social Network” and the real Meta executive are all playing parts. But only one has changed his approach.

© Columbia Pictures; Andrew Caballero-Reynolds/Agence France-Presse — Getty Images; Columbia Pictures

Warning: contains spoilers
The four short scenes added to the new version has made the film the highest-grossing of all time – but the only people really enjoying this are the Disney accountants

Does it really matter which film is the highest-grossing of all time at the global box office? Will James Cameron be lying awake at night staring into the darkness and pondering whether to withdraw humanity’s access to giant, blue-skinned space elves out of sheer spite, just because Avatar has been dethroned once again by Avengers: Endgame? It seems unlikely. Are the Russo brothers at this very moment leaping and capering with wild abandon because adding a few new scenes and releasing their film for the umpteenth time has led to this momentous changing of the guard? Probably not. Is a Disney accountant somewhere holding a tiny awards ceremony in which every nominee is himself? Well yes, absolutely, because the mouse house ultimately owns both films.

And yet the most interesting thing about Avengers: Endgame’s return to cinemas is not how much money it has made – for the record, the rerelease, titled Avengers Endgame: Encore, had brought in another $126m worldwide by last weekend, taking its lifetime total to approximately $2.925bn (just ahead of Avatar’s $2.923bn) – but what Marvel added to the picture while we were all busy counting.

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© Photograph: TCD/Prod.DB/Alamy

© Photograph: TCD/Prod.DB/Alamy

© Photograph: TCD/Prod.DB/Alamy

Aaron Sorkin’s sort-of sequel to the 2010 “Social Network” dramatizes a whistle-blowing case at Facebook. Here’s what to know.

© Leah Gallo/Sony Pictures

The Guardian gets people to tell their best Brian Blessed stories. He believes in the cold! He protects the badgers! He made it pretty far up Everest! His voice creates its own weather system! He is fun to work with!

You can also read the Guardian's trove of Blessed content.

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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We can sit here and freeze-frame a show and nitpick it and point out various things, but it's very interesting to see how crosswords as props are part of this whole world that they're trying to build. And as long as it reads well on the screen, perhaps it doesn't matter if it's coming from some stock-image site. It will only matter to the real hardcore people who are looking closely at these things. [ungated, but archive.ph]

100 Zeros, a collaboration between Google and Range Media Partners, aims to give the tech giant a foothold in movies, TV and emerging forms of entertainment.

© Michelle Groskopf for The New York Times

Fans operate entirely outside the structural limitations that thwart even skilled industry technicians. A professional lab might make all the right archival choices only to have those compromised by a revisionist director or a studio's marketing needs. Fans, in contrast, answer to no one but themselves, which has let them accomplish what studios with exponentially more resources and infrastructure haven't: banding together to preserve and disseminate historically accurate versions of some of the most beloved films in history—an end-run around the rights and financial issues that hold legitimate enterprises back.

“The Social Reckoning” and other movies reflect growing discontent with Silicon Valley founders. But such films may be at the mercy of the companies themselves.

© Saiman Chow