MOVIE REVIEW: YOU CAN SEE EVERYTHING

 

You Can See Everything is a 2026 American experimental meta-documentary directed by Nathan Fielder and Lance Oppenheim that follows disgraced Theranos founder Elizabeth Holmes and her partner Billy Evans in the weeks leading up to her prison sentence. 

Director: Nathan Fielder, Lance Oppenheim

Cast: Elizabeth Holmes, Nathan Fielder, Billy Evans, Amanda Seyfried, Christopher Abbott

Release Date: October 16, 2026

 

Genre: Documentary, Biography, Comedy, Crime

Rated R for language and some graphic nudity.

Runtime: 2h 54m

Review:

You Can See Everything is a rather mesmerizing documentary that morphs into something else entirely about halfway in to become something uniquely singular and thought-provoking that will likely leave you with more questions than answers.   Lance Oppenheim and Nathan Fielder’s documentary starts off traditionally enough even with Fielder’s distinctive style as we follow disgraced Theranos founder Elizabeth Holmes and her family in the days before her incarceration in federal prison.  If you are familiar with Fielder’s previous work, you’ll find plenty of his usual hallmarks early on as he embeds himself in the family before ultimately moving in with them.  There’s a sense of false intimacy that permeates the first hour or so Fielder attempts to delve into Holmes state of mind.  It’s a rather fascinating chess match with Fielder being rather direct at various points throughout about the criminality of the actions that led Holmes to end up with her being convicted of defrauding investors.  The fact that Holmes and her partner, Billy Evans, reached out in order to tell “their side” of the story throws up red flags immediately as we get the sense they’re both playing the long game as they attempt to make her more sympathetic.  This version of Holmes is a far cry from the person we’re told about in the documentary, The Inventor: Out for Blood in Silicon Valley, that chronicled her rise and fall.  Holmes and Evans portray her as some sort of misunderstood savant who functions on another level who doesn’t understand the basics of communication and interactions, making her an easy target for manipulation highlighted by a sequence involving Abbott and Costello’s “Who's on First” bit.  There’s a sense by the time Holmes heads to prison, that Fielder grows strangely sympathetic to her plight but is clearly conflicted about the couple’s authenticity.  At that point, the documentary morphs into something more aggressively meta and nuanced as he tries to discern the nature of the truth he’s being told and ultimately our ability to determine the truth, we’re being told via any sort of media.  Revealing too much about the back half of the film feels counterproductive since a series of situations and revelations take the film in a variety of different directions.  You Can See Everything gives you more than enough information to draw a fair number of conclusions but it also questions how you reached those conclusions with an exchange between Nathan Fielder and Amanda Seyfried leaves you wondering if you have, in fact, seen everything.

A

MOVIE REVIEW: PRIMETIME

 

Chris Hansen, host of "To Catch a Predator," sets out to make television history in 2006.

Director: Lance Oppenheim

Cast: Robert Pattinson, Merritt Wever, Skyler Gisondo, Phoebe Bridgers, Bokeem Woodbine, Anna Faris

Release Date: September 25, 2026

 

Genre: Biography, Crime, Drama, Thriller

Rated R for disturbing sexual material, graphic nudity, some violent content, and language.

Runtime: 1h 50m

Review:

Lance Oppenheim’s Primetime takes beats from the 1976’s Network and 2014’s Nightcrawler to capture the standard definition sensationalism of To Catch a Predator, powered by stellar turn from Robert Pattinson.  Oppenheim’s first narrative feature is neon tinted character study of Chris Hansen as he and his producer’s drive to make their show the biggest thing on TV.  He gives his film a tangible immediacy from start to finish even as the whole thing turns into a fever dream of misguided self-aggrandizing, justice.  It’s a fascinating film that envelopes you on multiple levels as we go down the rabbit hole along with the characters in the film.  None of the characters are portrayed in a particularly favorable lights with most of them, outside of Skyler Gisondo’s naïve Decoy Dan, being painted as little more than hollow people chasing notoriety and relevance at any cost.  There’s a griminess to it all that bleeds through the screen that’s hard to ignore which gives you a clear idea of what the filmmaker thinks of the whole endeavor.  At the center of it all is Robert Pattinson who perfectly captures Hanson’s inflections and tone which makes it easier to ignore the fact that he looks nothing like the real person.  Pattinson delivers some of his best work of the year, impressive on its own after delivering memorable performances in The Odyssey and The Drama earlier this year.  He’s entrancing anytime he’s onscreen which makes you wonder why the film devotes so much time to Skyler Gisondo’s character.  That’s not to say Gisondo performance isn’t great because it is, but the character just isn’t as interesting as the film’s version of Hansen. Pattinson manages to capture the character’s drive to be respected for what he considers a noble task regardless of how he gets there, highlighted by a couple of hilarious encounters with Dateline stalwart, Stone Phillips.  Merritt Wever is devilishly good as Hansen’s producer that’s more than game to get as much of the salacious content as possible until she slowly starts losing control of the show.  The film takes a much more abstract approach in the final act which won’t work for everyone, but it doesn’t detract from the electric energy of Primetime and its central star.  

B+