Rotten Tomatoes: 100% (from 17 reviews) with 9.70 average rating
Metacritic: 99/100 (11 critics)
As with other movies, the scores are set to change as time passes. Meanwhile, I'll post some short reviews on the movie. It's structured like this: quote first, source second. Beware, some contain spoilers.
In one scene, this new colleague and Fielder find themselves outraged on Holmes’ behalf that a crass X response posted by Evans through her account “does not sound like her.” They’re almost certainly right, based on what we’ve seen of Holmes — and they also have about as much authority to determine what Holmes would or would not say as anyone who isn’t Holmes herself does. You Can See Everything reaches for accuracy in its portrayal of a much talked-about figure. It ends up asking, with plenty of humor but no small amount of wisdom, what “accuracy” would even look like in the first place.
-Angie Han, The Hollywood Reporter
For how disquieting it is, the film never goes too long without forcing a laugh. Fielder’s side-eye, always directed at Evans, gives viewers insight into his position, while Oppenheim’s expertise in feature narrative and documentary filmmaking elevates the film’s craft. Together, the duo keeps us on the edge of our seats, glued to the screen.
-Cortlyn Kelly, IndieWire: A
“You Can See Everything” is just about the furthest thing from a “pure” documentary you’ve ever seen. That’s part of its appeal — it’s a one-of-a-kind reality-TV-as-hangout-movie psychodrama circus. Yet it’s been made with a spirit of true inquiry, driven by Fielder’s acidly quizzical personality (as an onscreen interviewer, he’s got the most drop-dead deadpan since Steven Wright), and it gets its hooks in you.
-Owen Gleiberman, Variety
Trust, ultimately, that you can see more than you ever imagined you’d see about Elizabeth Holmes and maybe get no closer to discerning the truth – and yet it will all be worth it.
-Adrian Horton, The Guardian: 5/5
A key question throughout is if Holmes is really the inveterate liar people came to believe she is. Whether the pair are doing this to make some quick money is a key point — did they covertly make a deal with A24 in that regard? A New York Times story is questioned for its claim; Holmes said, in reaction to the portrayals of her, “they’re not playing me, they’re playing a character I created.” If true, what does that say about her honesty? We never get the answer, but have plenty of questions after three bruising hours of this startling film guaranteed to blow your mind.
-Pete Hammond, Deadline
The aftertaste of the compulsively watchable “You Can See Everything” is unknowably immersive, even haunting, and makes one believe in the power and searching qualities of art. I am not sure even Fielder and Oppenheim can fully explain how they ended up with a film that brilliantly sits at the intersection of documentary, narrative, comedy, reality TV, and performance, where politics, mental health, femininity, and truth in the eye of the beholder intertwine. Repeat visits might answer that question. But even now, the significance of “You Can See Everything” is clear as a film that might advance a new cinematic language in the mainstream non-fiction sphere.
-Tomris Laffly, RogerEbert.com: 4/4
When I exited the NYFF premiere, there was a truck with a digital billboard sitting outside the theater. Its sign read “Free Elizabeth Holmes.” It seemed like a nifty bit of ironic marketing by A24. But later in the night, several folks who work for the indie distributor told me they had nothing to do with that truck. It was just Elizabeth Holmes fans, apparently, fighting the good fight for their martyr on a New York street corner at midnight. No documentary can empirically answer why people behave the way they do, but a great doc can capture how our actions shape and distort the world around us until we’re all lost in a weird, mesmerizing, post-truth wonderland.
-David Crow, Den of Geek: 5/5
Fielder exercises his talent for re-creations. Things are said on-camera that can’t be unsaid. Your mind is blown, diligently reassembled, then re-blown. The metaphor of a magic trick is trotted out early on, and by the film’s conclusion, you are generally unsure whether you’ve been watching nothing more than a pair of master illusionists saw a lady in half. There’s no “ta-da!”, there’s simply a “what did I just watch?” sense of shock and awe.
-David Fear, Rolling Stone
Fielder, listening to audio in his headset and curling up at night on a bare mattress in the spare room of that Del Mar rental, starts to look like a figure on a doomed but noble quest. Holmes tells him that she sees the film as a human story, as though by simply showing herself in her entirety, she could convince the world to finally be on her side. But in You Can See Everything, the closer we get to her, the less knowable she is — a set of pointillist dots in the shape of a person.
-Alison Wilcome, Vulture
Residing somewhere between reality and fantasy, doubt and certainty, infatuation and incredulity, You Can See Everything is a genre-bending magnum opus of breathtaking order — one that recognizes it’s seeing everything and yet, hard as it tries, not quite seeing the very thing it’s looking for.
-Nick Schager, The Daily Beast
Overall, Fielder and Oppenheim have crafted a remarkable and at times brilliant piece of filmmaking. Yes, the pair do utilize the non-fiction reenactments Fielder has used on previous projects, but they work seamlessly to help convey an increasingly tense narrative. That being said, are the filmmakers somewhat precious? A bit, yes. Is this runtime absolutely necessary? No, but the second half is so enthralling, the twists and turns so entertaining, the questions the movie asks are so fascinating, the hypocrisy they uncover so deranged, you’ll forgive their indulgences.
-Gregory Ellwood, The Playlist: A–
With co-director Lance Oppenheim, Mr. Fielder gets around the restrictions on his access to the locked-up Ms. Holmes with his customary hilarious meta-narrative brilliance.
-Kyle Smith, Wall Street Journal
PLOT
Elizabeth Holmes and Billy Evans invite Nathan Fielder and Lance Oppenheim to document their lives in the days before Holmes goes to prison, and the filmmakers continue following the couple over the course of three years.
DIRECTORS
Nathan Fielder & Lance Oppenheim
MUSIC
Ari Balouzian
CINEMATOGRAPHY
David Bolen
EDITOR
Adam Locke-Norton
RELEASE DATE
October 16, 2026 (theaters)
RUNTIME
174 minutes
STARRING
Elizabeth Holmes
Nathan Fielder
Billy Evans
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