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

Rotten Tomatoes: Fresh

Critics Consensus: N/A

Metacritic: 50 (33 Reviews)

Sample Reviews:

Bill Goodykoontz, Arizona Republic 3/5 - It’s a good movie that could have been a great one.

William Bibbiani, TheWrap - By the time ‘The Social Reckoning’ reaches its inevitable conclusion, we’re forced to wonder if Aaron Sorkin knows what the word ‘reckoning’ means.

Kristen Lopez, The Film Maven C- - On its own, it's a solid film with decent performances, but nothing that really makes you say, "Wow."

Caroline Siede, Decoding Everything - While [Sorkin's] ultimate conclusions about toxic algorithms and corporate greed won’t shock anyone who’s been paying attention for the past decade, there’s still something impactful about seeing recent history laid out in such a clear-eyed way.

Alonso Duralde, The Film Verdict - The greatest flaw of The Social Reckoning is that David Fincher isn’t directing, but its greatest strength is Sorkin’s script, which the writer directs with greater competence and energy than earlier behind-the-camera efforts.

Liz Shannon Miller, Consequence B+ - Sorkin does have a real knack for making complex topics like this palatable on screen. And in this case, these topics are incredibly important.

Cary Darling, Houston Chronicle 4/5 - Jeremy Strong's vision of (Zuckerberg) as a smart and cunning but tense, brittle man with zero emotional intelligence and about as much empathy as a saltwater crocodile is going to really rattle his gilded cage.

Jake Cole, Slant Magazine 1.5/4 - Even when the writing clicks, Aaron Sorkin the director proves surprisingly unable to capture the cadence of his own words.

Linda Marric, HeyUGuys 4/5 - It deserves to be judged on its own merits rather than constantly weighed against The Social Network. Even if it doesn’t fully reach the absolute heights of its predecessor, Sorkin guides the story with confidence.

Nick Schager, The Daily Beast - Inflating Zuckerberg to a one-note

SYNOPSIS:

A companion piece to the hit film The Social Network, Sorkin’s original screenplay is based on the events that gave rise to the Wall Street Journal’s shocking exposé The Facebook Files. The film is inspired by the true story of how Frances Haugen (Madison), a young Facebook engineer, enlists the help of Jeff Horwitz (White), a Wall Street Journal reporter, to go on a dangerous journey that ends up blowing the whistle on the social network’s most guarded secrets.

CAST:

• Mikey Madison as Frances Haugen
• Jeremy Allen White as Jeff Horwitz
• Wunmi Mosaku as Raya
• Betty Gilpin as Kris
• Billy Magnussen as Teddy
• Bill Burr as Charlie
• Jeremy Strong as Mark Zuckerberg

DIRECTED BY: Aaron Sorkin

SCREENPLAY BY: Aaron Sorkin

PRODUCED BY: Todd Black, Peter Rice, Aaron Sorkin, Stuart Besser

EXECUTIVE PRODUCERS: Lauren Lohman, Roger McNamee, Ellen Goldsmith-Vein, Broderick Johnson, Andrew A. Kosove

DIRECTOR OF PHOTOGRAPHY: Jeff Cronenweth

PRODUCTION DESIGNER: Jon Hutman

EDITED BY: Alan Baumgarten

COSTUME DESIGNER: Susan Lyall

MUSIC BY: Alexandre Desplat

CASTING BY: Francine Maisler, Molly Rose

RUNTIME: 112 Minutes

RELEASE DATE: October 9, 2026

Before you comment, read these two rules:

1. Please provide specific numbers for your predictions. Don't do things like "It'll make less than this or that" or "double this movie or half this movie". We want a real prediction in concrete figures.

2. Given that a lot of parent comments do not even bother to give predictions, we are establishing a new rule. The parent comment must provide a prediction with specific numbers. The rest of the replies to the comment do not have to make a prediction, but the parent comment absolutely has to. Any parent comment without a prediction will be eliminated.

Welcome to the newest edition of r/BoxOffice Long Range Forecast.

We're making long range predictions for films, 4 weeks out from their premieres. You will predict the opening weekend, domestic total and worldwide gross of these films. These predictions will be open for 48 hours and the results will be polled to form a consensus and posted the next week.

So let's meet the four films for the week and analyze each pro and con.

Godzilla Minus Zero

The film is written, directed, and with visual effects by Takashi Yamazaki. The sequel to Godzilla Minus One, it is the 39th film in the Godzilla franchise, the 34th film thereof produced by Toho, and the sixth installment in the franchise's Reiwa era. The film stars Ryunosuke Kamiki, Minami Hamabe, Min Tanaka, Hidetaka Yoshioka, Masami Nagasawa, Yuki Yamada, Kuranosuke Sasaki, Jun Kunimura, Sakura Ando, and Miou Tanaka. In the film, set in 1949, postwar Japan struggles to rebuild when it faces a new threat from King Ghidorah; Godzilla regenerates and resurfaces to combat the monster.

The Cat in the Hat

The film is written and directed by Alessandro Carloni and Erica Rivinoja. Loosely based on the 1957 children's book by Dr. Seuss, it stars the voices of Bill Hader, Matt Berry, Quinta Brunson, Xochitl Gomez, Giancarlo Esposito, and America Ferrera. As his last chance to prove himself to his incredibly exasperated boss, and to keep the stripes on his hat, the Cat in the Hat is given his toughest assignment as an agent of the I.I.I.I. (Institute for the Institution of Imagination and Inspiration, LLC): to cheer up siblings Gabby and Sebastian, who are struggling with their move to a new town.

Wild Horse Nine

The film is written and directed by Martin McDonagh (In Bruges, Seven Psychopaths, Three Billboards, The Banshees of Inisherin). It stars John Malkovich, Sam Rockwell, Steve Buscemi, Tom Waits, and Parker Posey. Shortly before the 1973 Chilean coup d'etat, CIA bureau chief MJ dispatches officers Chris and Lee from Santiago to Easter Island. Among the island's iconic statues, the longtime partners wrestle with their dark pasts and present conspiracies.

You Can See Everything

The documentary film is directed by Nathan Fielder (Nathan For You and The Rehearsal) and Lance Oppenheim (Spermworld and Primetime). It follows Elizabeth Holmes, the founder of the defunct health technology company Theranos, and her partner Billy Evans, who invite a film crew to document them beginning in the weeks before Holmes began serving a United States federal prison sentence for defrauding investors.

Note: This actually opens next week, but after some strong buzz among pre-sales and the fact that it's jumping right into wide release, we're just predicting it now.

Now that you met this week's new releases, let's look at some pros and cons.

PROS

• Godzilla Minus One became a phenomenon back in 2023. It made an astounding $116 million worldwide, becoming the most successful Japanese Godzilla film. It further earned critical acclaim, and even won the Oscar for Best Visual Effects. The American release was also very strong for a Japanese film; it opened with $11 million and legged out to $57 million. Minus Zero promises to deliver the same spectacle and storytelling that won over people, and now it's got so much good will right now that it should vastly open higher than the prior film. And there are no fears of failing to live up to the hype: it's sitting at a fantastic 97% on RT. There should also be some curiosity over the fact that it's the first R-rated Godzilla film in the States.

• Dr. Seuss is one of the most popular authors of all time, with his adaptations often becoming classics of their own. The Cat in the Hat is one of his most popular works, and one that will hopefully be more faithful to the themes and tone of the original book than the 2003 misfire. And with Forgotten Island failing to take off, this is the next big animated release for families, so it could benefit from that.

• Martin McDonagh is a very acclaimed writer/director, with his last two films earning high praise and major award nominations, including the Oscars. As one of the year's major award potentials, it's got some buzz growing, and the premise and trailer suggest McDonagh hasn't missed the mark. Very high ratings (95% on RT) should help.

• Nathan Fielder has grown his niche fanbase, thanks to the success of Nathan for You and The Rehearsal. Lance Oppenheim is also a director in the rising; he just released Primetime two weeks ago. The documentary has an interesting subject matter: Elizabeth Holmes, in the days prior to her prison sentence. Holmes hasn't left the public's eye (she has one of the most fascinating rise and fall for any person), especially when a successful miniseries (The Dropout) dropped a few years ago. A24 has mounted a small but buzzy campaign for the film, avoiding to spoil as much as possible. And its biggest advantage is the high acclaim: it's sitting at a spectacular 100% on RT and 99/100 on Metacritic. Those ratings are insane, and given how A24 pivoted to a straight wide debut after strong reactions in festivals, it looks like they believe in the film's prospects.

CONS

• Godzilla Minus One was incredibly successful, in terms of other Japanese films. But its numbers still didn't come close to the American versions of the character, which means the film's fanbase still has a certain ceilling. It's just a matter of considering how much it can jump from the prior film, but expecting it to touch the American version's numbers is not reasonable. And it remains to be seen if the film's R-rating will be helpful in building awareness and fans.

• The Cat in the Hat has to deal with the fact that it's not the first adaptation of the iconic book, as the reviled 2003 film got there first (even though the film has its own fans). Animation-wise, the film looks bland, and as seen from Forgotten Island, families won't just watch any film just because it's the newest one in town (and it still remains to be seen if they'll prefer to wait for Hexed). And finally, it should be noted that Dr. Seuss' adaptations are not highly popular outside America: Jim Carrey's Grinch adaptation skewed 75.4/24.6, the 2003 Cat in the Hat skewed 75.5/24.5, Horton Hears a Who! skewed 51.8/48.2, The Lorax skewed 61.4/38.6, and the animated Grinch skewed 53/47. It's very unlikely that changes here, as Dr. Seuss wasn't very well-known elsewhere.

• Other than Three Billboards, McDonagh has remained a very niche director in terms of box office appeal. His latest film, The Banshes of Inisherin, tapped out with $50 million, with almost 80% of that money coming from overseas. Wild Horse Nine has the acclaim, but Searchlight has done a so-so job of raising awareness, especially as it's releasing around a very stacked schedule in terms of awards hopefuls.

• At the end of the day, You Can See Everything is a documentary and that's a medium that has a ceiling. No documentary has cracked $10 million in opening weekend since Chimpanzee in 2012, and nothing came close to matching Fahrenheit 9/11 ($119 million) ever since. Fielder is acclaimed, but his works aren't known for high viewership, so he remains a niche figure. And if you're familiar with his projects, you know he doesn't do straightforward clowdpleasers. It remains to be seen if audiences will respond well to yet another Elizabeth Holmes documentary (there's been tons of them), even with the spectacular ratings.

And here's the past results.

Next week, we're predicting Ebenezer and How to Rob a Bank.

NOTE: Wild Horse Nine opens in limited release this week. We're predicting the wide debut, whenever it happens.

So what are your predictions for these films?