You Can See Everything

One of the most wild, riveting, fascinating documentaries I've ever seen, YOU CAN SEE EVERYTHING is a masterclass in editing, spinning the genre into something I've never seen before.

The challenge of that fact is reviewing the film without giving anything away, but I promise you, NO SPOILERS.

No one had even heard that Director/Writer/Comedian Nathan Fielder and Lance Oppenheim (Primetime) had this massive film in the works until just a few months before its release.

It's taken theaters by storm with $84 million at the box office and status as one of the highest grossing docs of all time.

So how do you create a 2 hour and 45 minute long documentary that is nearly 100% interviews and establishing shots of where the interviews are taking place and rivet the viewer to their chair for the full running time?

Hell, I couldn't move and found myself leaning forward in my seat the last hour.

You start with a person or subject that is mysterious and intriguing. Theranos founder Elizabeth Holmes is all that. And delusional, unrepentant, surprisingly fragile, weak, conniving, controlling, manipulating, manipulated....OR IS SHE?

You tell me after seeing this film.

Holmes started Theranos, duping investors, massive companies and well known board members into the shell game of a new blood test machine that could perform any test with one drop of blood.

What's that old saying about "If it's too good to be true..."

Walgreens bought in for millions of dollars, over a billion dollars came into the company and one of the greatest business frauds of our time unfolded.

Holmes went from corporate genius innovator to all-time scam artist on magazine covers very quickly. The repercussions of Theranos ripple in damaging ways through today.

34 days before her prison sentence was set to begin, convicted Holmes and her boyfriend Billy Evans, with whom she shares two young children, invited Fielder and his camera crew to immerse & live with them, so that she can tell her REAL story.

What follows is a literal thrill ride of denial, discovery and intrigue.

Holmes seems to be in complete denial that she's done anything wrong.

She's got a delicate needle to thread here. How does the self-proclaimed power woman, disruptor-to-an-industry wunderkind who knows all, then earnestly say that she knew nothing about what was going on within Theranos that was bad in any way?

Are you in charge or a pawn?

Are you a genius and female pioneer or just following your powerful former boyfriend around and pitching his bullshit?

Holmes wants it both ways and it's fascinating to watch.

The more you spend time with her fiance and father to her kids Billy, the bigger impression he makes. WOW, what an impression he makes. What a world class douche on every human level. Discover for yourself and then consider who Billy is, his actions and he and Elizabeth's interactions.

Fielder, Oppenheim and their crew do an amazing job capturing and then presenting not just what the Holmes couple want you to see, but plenty of moments I'm sure they regret.

Cinematographer David Bolen (Primetime) shoots much of the film in the most extreme closeups since Joshua Logan's 70mm full screen faces that littered "Camelot". Bolen's serve the material far better here, pulling us in so close it feels like we're about to witness a revelation.

The omnipresent, subtle music score by Ari Balouzian is the perfect accompaniment to what's happening within, quietly underpinning key onscreen moments while nudging beneath your skin to increase your voyeuristic discomfort.

We watch Holmes arrive at prison in May of 2023, then the film jumps forward to the present.

And everything changes within the film.

Fielder and Oppenheim make some fascinating choices that I won't reveal, they are as shocking as any M. NIght Shyamalan final act, and pay off far better.

Their creative choices elevate everything that you've already seen in the first half and take the present down some fascinating rabbit holes.

It's all best that you discover it yourself, just as I did and ever growing audiences have in the weeks since its release.

You often hear about a film being a "game changer". It's thrown around as a description on a whim. This is that rare case that you can say it and it genuinely applies. It may not be strong enough to describe what Fielder & Oppenheim have done within the documentary genre.

Like Andrew Jarecki's fascinating two part doc "The Jinx: The Life and Deaths of Robert Durst", there are moments here that shock, that suddenly pivot the narrative and leave you gaping at the screen.

Before filming began, Fielder negotiated a deal with A24 that if there was no film to be made out of all the embedded footage they shot, he could just throw it all in the trash and walk away. What a gold mine of human emotions, greed and lust for power he's uncovered. NONE of which I saw coming.

By the end of the film, it was clear that YOU CAN SEE EVERYTHING and nothing at all in the very same breath. It gets an A+ and is one of the best films of 2026.

I've never seen anything quite like it.

That Billy is......something.