You Can See Everything Has Audiences Bracing for a Wild Ride

You Can See Everything has made an immediate impression with critics and audiences. Within hours of its theatrical release, the film held a 100 percent Fresh rating on Rotten Tomatoes, a 4.7-star average on Letterboxd and a 98 Metascore. That Metacritic score placed it at number 26 on the site’s list of the best films of all time.

The documentary-style film places surrealist filmmaker Nathan Fielder opposite Theranos con artist Elizabeth Holmes. Its central conflict appears to be a battle of deception, presented through the unsettling and unpredictable lens associated with Fielder’s work.

Early reactions are overwhelmingly enthusiastic, but they also suggest that the film may be more unnerving than entertaining. Several viewers have urged people to see it quickly and learn as little as possible beforehand.

“You need to stop what you are doing and go see ‘You Can See Everything’ right now. It is that good. I am not exaggerating.”

— Paris Martineau

“You Can See Everything opens today on 900 screens. For me, and judging by the reviews, I’m not alone, it’s the movie of the year. See it as soon as you can, with as many people as you can, after reading as little as you can.”

— Mark Harris

“I’ll publish a review tomorrow, but You Can See Everything? Yeah, it’s legit.”

— Drew Magary

The anxiety surrounding the film is partly driven by the expectation that Fielder has another psychological trick waiting for the audience. Viewers familiar with both seasons of The Rehearsal may already understand why the prospect of being manipulated, confused or made uncomfortable feels plausible.

“I was admittedly having audible reactions to You Can See Everything, so much so that I got a dirty look from the guy in the row ahead of me. I don’t know how you can see some of that and not have an audible reaction.”

— Jared Gilman

“You Can See Everything will make you question everything.”

— Mother Jones

“Friend saw everything.”

— Sky Marchini

Other reactions describe the movie as the sort of experience that continues to occupy your thoughts after the credits. One viewer recommended arriving “blind”, warning that even an apparently ordinary detail involving scrambled eggs may never feel quite the same again. The same viewer suggested the film could become an Oscar Best Picture finalist.

“Still thinking about You Can See Everything… I’m sitting here asking my coworker if you can ever truly know someone.”

— Mason

“Really don’t think I will mix up scrambled eggs the same ever again. Highly recommend going to You Can See Everything, and try your best to come in ‘blind’ as it will enhance your movie-going experience. Would be shocked if it isn’t an Oscar Best Picture finalist this year.”

— CJ

That spoiler sensitivity has become part of the conversation. Even reading reviews or browsing social media may reveal the film’s major turns, including the apparent question of who or what the audience should believe. For viewers who want to preserve the uncertainty, the safest approach may be to avoid detailed discussion until after seeing it.

Strong demand from opening weekend

The film opened on 900 screens, yet reports from several markets suggested that tickets were difficult to find. One viewer said every session was sold out for the weekend, while others reported full screenings in suburban Ohio and frustration that nearby cinemas were not showing the film.

The reported demand is notable because some cinema-goers said they had rarely watched a film in theatres in recent years, only to discover that advance booking was necessary for this release. The discussion has given You Can See Everything an unusual sense of urgency for a film whose appeal depends heavily on mystery.

The opening result is encouraging for A24. Deadline reported that the film had earned $1.75 million from Thursday-night screenings. That performance follows the release of Primetime the previous month, giving the production company back-to-back successes.

A spoiler-sensitive film worth approaching carefully

For Australian viewers waiting for local screenings, the early response points to an experience best approached with minimal advance knowledge. The available reactions do not explain the film’s central surprises, but they repeatedly describe shock, laughter, discomfort and prolonged second-guessing.

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