You Can See Everything: Movie Review

Cast: Nathan Fielder, Elizabeth Holmes, Billy Evans
Director: Nathan Fielder, Lance Oppenheim

It is entirely possible you will watch this three-hour documentary and come away knowing even less about its subject - something which may seem like a failure, but given the person involved seems entirely plausible.

The Rehearsal's Nathan Fielder deploys his usual MO of manipulation in this piece about Theranos inventor Elizabeth Holmes. Given access to her just 34 days before she's sent to prison for her part in the multi-million dollar deception of the Theranos scheme, Fielder is offered the chance to get to know her. Despite initially refusing to move in with her and partner Billy Evans, he finds his initial visits offer little clues to her belief that she's done nothing wrong - and decides that moving in will offer both better access and more chances to get to know her.

It's no spoiler to say that the convicted Holmes still goes to jail one hour into this near three-hour journey, leaving the filmmakers with somewhat of a quandary. However, what begins to emerge - and what filmmakers have asked to keep under wraps for audiences to enjoy - is a film that plays with its own narrative, finds itself stymied on occasion, but inventively works a way around it.

There's much in You Can See Everything which will leave jaws on the floor. 

Whether it's the comic moments that Fielder brings to the table with his dry, deadpan demeanour, or stalking awkwardly in the background, listening in to every interaction, mixing the surreal with the serious, You Can See Everything is a reinvention of the documentary genre.

In cases like this and with the previous works of Fielder, there would normally be discussions about manipulation in the edit, but given Holmes' demeanour throughout, her piercing stares and seemingly inability to take in what's being argued, You Can See Everything is a clear case of subject obfuscation as ever did exist.

But Fielder's intelligence in stringing together coherent arguments - including the use of an infamous Abbott and Costello sequence - really does leave you wondering what's what. Equally, candid microaggressions from Evans are shocking, telegraphed as they are from the first 10 minutes into the piece - the onion continues to reveal its layers the more it's peeled here.

What emerges from You Can See Everything is how it shifts its shape before audience eyes - just when you think you have a slight handle on what's going on, the film's keen to twist its path down a more serious front and offer a puzzlingly intelligent discourse on Holmes' fraudster actions.

It's perhaps telling that during the entire time of You Can See Everything, Fielder seems no closer to be able to see anything at all - not through wilful denial or Stockholm Syndrome, but because every interaction seems to open up more wormholes and pose more questions. It's a meeting of where truth begins and where the documentarian's eye and subject mesh.

You Can See Everything is an absolutely jaw-dropping piece of doco - whether you're au fait with Fielder's previous work or aware of the furore around Holmes' Theranos scam, the chances are you won't be able to stop thinking about this mind-melting journey long after it's done. 

What's on HBO Max in December

Here's everything that's streaming on HBO Max in December 2026.

Harry Potter and the Philosopher’s Stone (Series) (December 25)

The brand-new series based on JK Rowling's fantasy series finally arrives to enchant audiences once again.

What's on Netflix in December

Here's everything that's streaming on Netflix in December 2026.

Bad Day (December 13)

Cameron Diaz stars in a comedy about a single mom fighting to keep one little promise to her daughter on the absolute worst day of her life.

Pride and Prejudice (December 3)

Dolly Alderton faithfully brings Jane Austen’s iconic story back to life for audiences that cherish it, whilst inspiring a new generation to fall in love with it for the first time. 

Two centuries on, the story of five sisters, hasty judgements and love that takes its time still captures hearts. Dolly Alderton explains “Pride and Prejudice is such a timeless story because of the emotions in the book; they are as pertinent now as they were in 1812. Embarrassment of your family, fear that you’re going to get left behind, fear that the world is not going to be a safe place for your children as it was for you, mortification that you judged someone incorrectly or that you had been misjudged. We go to that book to see our hearts reflected in it.”

Lizzy (Emma Corrin) and Jane (Freya Mavor) open the trailer on the roof of Longbourn, debating the dilemma that defined Austen’s era and still resonates today. Dolly shares: “I always knew that I wanted it to be the opening line of the trailer, not only because I think it’s so relatable to women now who are looking to find the right partner and looking to find love, who are resentful of how much time it takes over their schedule and their brain, but also because it captures how much Lizzy is a character who’s working things out as she goes along.”

Mr Darcy (Jack Lowden) remains pensive and reserved throughout, until the closing moments hint that his pride may be softening, the first sign of the love story to come…

The Further Misadventures of Cliff Booth (December 23) 

Brad Pitt returns to his Academy Award-winning role as Cliff Booth, only this time it’s 1977 and it’s a very different Hollywood. Directed by David Fincher from a screenplay by Quentin Tarantino, the film also stars Elizabeth Debicki, Scott Caan, Carla Gugino, Yahya Abdul-Mateen II and Peter Weller.

DIRECTOR: David Fincher

WRITTEN BY: Quentin Tarantino

Black Sheeps: Movie Review

Cast: Tabatha Killick, Oliver Driver, Lucia Davison, Joe Witkowski, Ian Harcourt, and Nathan Meister
Director: Jonathan King

Twenty years ago, New Zealand's horror scene collided with the inevitable overseas obsession about the country's sheep population to create a comedy film that encapsulated both and delivered on gore and guffaws.

The sequel's unfortunately less successful, despite crafting together some strong elements and some mightily impressive practical creature effects, courtesy of Weta Workshop, returning to where they began.

The story follows would-be scientist Oats (Killick, commanding and impressive) who believes a pathogen from the original outbreak has mutated and is on the verge of getting loose. As she heads back to her hometown of Woolsten to catch up with her family and find out more about the source, she finds herself slap bang in the middle of some very strange goings-on.

Tapping into post-Covid concerns and the way the boomer population can be manipulated, Jonathan King's script has some particularly robust elements that unfortunately a mix of tone never quite manages to seize upon.

It deserves commendation for refusing to retread the initial premise again and while there's a feeling of parallel storylines compared to the previous one in terms of the outbreak, twisting it into 2026 concerns about vaccinations (and subverting some of the mantras) and suburban paranoia works well for the film's MO.

But despite the cult of the lamb furries who appear during proceedings (and whose motives seem largely at odds with the film), Tabatha Killick delivers a measured and impressively gutsy performance as the headstrong scientist Oats, whose current career is at odds with her family's past and current beliefs.

Far more successful when it's a touch more ram-bunctious and freewheeling with its humour and gore, Black Sheeps delivers an impressively chaotic massacre that sees the practical FX working in extremis to pull off some suitably gory visual moments and hilariously off the wall gore.

It's here that Black Sheeps works better and perhaps where it should have leaned into a little more for greater success. It's by no means a disaster, just a film that feels like it never quite lives up to or enhances its original legacy - despite some truly funny visual gags and gore-filled moments.

Final Fantasy: Resonance: PS5 Review

Developed by Square Enix
Published by Square Enix
Platform: PS5

The first HD-2D game within the Final Fantasy series, this latest from Square Enix is a celebration of everything that makes up the genre.

A modern reimagining of the first arc of the mobile game Final Fantasy Brave Exvius, the game is set in the world of Lapis, and follows Rain, Lasswell and Fina on a quest to protect Crystals from the Veritas of the Dark. 

Mixing turn-based strategy with cute pixel-heavy graphics makes this latest Final Fantasy feel like a real blast from the past - and in a good way. While Rain concentrates on fire attacks, Fina on light and Lasswell on ice attacks, the game offers up plenty of points of difference during the combat in their battles against the Sworn Six.

Travelling through the world brings out details of Fina's story and other characters, as well as introducing Random Battles back into the game as the fights can happen at any time and in any place. It's a welcome touch that adds much to the Final fantasy Resonance feeling, and builds on much of the nostalgia and goodwill the game franchise has provided over the past 40 years.

The ability to summon Visions, characters from the game's past also bring a welcome touch to proceedings and is a great way to pay homage to everything that's already gone past the game while ensuring the franchise doesn't become bogged down in its own world.

IT's beneficial that all the characters in Final Fantasy: Resonance feel relevant throughout, ensuring there's a deep immersion and connection to events in the world of Lapis and the central stories - not all JRPGs do this successfully and this latest is to be commended for engaging down this path.

Ultimately, Final Fantasy: Resonance, with its gorgeous pixel art and beautiful background worlds feels like a real love-letter to the Final Fantasy world - you'll once again embrace the chocobos and other elements and feel like it's never been a better time to revisit the fantasy series.

HBO Max to stream The End of Oak Street from November 13

Warner Bros. Pictures’ The End of Oak Street will make its global streaming debut on Friday, 13 November, only on HBO Max. The End of Oak Street stars Anne Hathaway, Ewan McGregor, Maisy Stella and Christian Convery.

After a mysterious cosmic event rips Oak Street from suburbia and transports their neighbourhood to someplace unknown, the Platt family soon discovers that their very survival depends on them sticking together as they navigate their now unrecognisable surroundings. 

The film is written and directed by David Robert Mitchell and produced by J.J. Abrams, Hannah Minghella, Jon Cohen, David Robert Mitchell, Matt Jackson and Tommy Harper. The executive producers are Chris Bender, Jake Weiner, Joanne Lee and Leeann Stonebreaker.

The End of Oak Street debuts Friday 13 November, only on HBO Max.