The second Colleen Hoover adaptation in as many years is in theaters this weekend, but folks looking for a “Regretting You”-style happy ending should gird their loins. “Verity” is a different kind of story entirely, focusing instead on a twisty, tawdry tale of two authors and their vaguely competent himbo.
The fastest way to describe director Michael Showalter’s film adaptation is if the Marie Kondo “I Love Mess” meme met 2026’s version of an erotic thriller. They ain’t what they used to be, but it’s nice to see any film try in our strangely sexless era of cinema. There does appear to be at least a level of self awareness when it comes to realizing that the sexiness of the film is necessary, as “Verity” relies on two things to succeed: the performances of its leads and how hot everyone is.
Anne Hathaway’s Verity Crawford is an ailing author who needs a ghostwriter to finish her latest book; Dakota Johnson’s Lowen Ashleigh is a struggling author about to lose her house; and Josh Hartnett’s Jeremy is just a boy who is in love with a girl, but also in love with this other girl, and also really does (actually) love his kids. The premise is very silly, and the execution often meets that energy even if it isn’t meant to.
Still, “Verity” is, on occasion, very hot.
Hathaway is playing Verity as what we’ll call “camp light.” She doesn’t go full Grand High Witch here, but she’s doing the most in every scene we see her in. Specifically, there’s a cadence to her voice that makes nearly everything seem disingenuous. Eventually, it becomes clear that her lack of sincerity is a choice meant to allude to certain deceptions, but in execution, it mostly just plays as distracting.
Meanwhile, Hartnett’s “aw shucks” energy serves him well here. Though, perhaps himbo was a bit of a misnomer — his kindness does come into question several times throughout the film. Regardless of the label, he’ll keep you guessing about his motives until the very end. As for Johnson, she’s had her sex appeal on full display for much of her filmography, and Showalter takes full advantage of the actress’ comfort with her body. There’s not much to Lowen, but that’s kind of the point of the character.
It seems that the goal of “Verity” is to keep the audience guessing through the closing credits. It does accomplish its task but, with a runtime of nearly two hours, you have to wonder if it does so with one too many twists. Nick Antosca delivers a serviceable screenplay, but it’s overstuffed with shock-and-awe that very rarely lands.
Case in point: One of the best scenes of the film takes place in the first five minutes, featuring Lowen covered in someone else’s blood after an unexpected (and very fatal) accident. It serves as a murderous meet-cute between her and Jeremy, but probably didn’t need to go on as long as it did. That’s the case for much of “Verity,” unfortunately.
Cinematographer Jim Frohna — who has collaborated with Showalter in the past on “The Idea of You” and several other films — does shoot one pretty picture, though. The cinematography is intentionally over the top, but in a way that remains visually appealing throughout. It’s rare to have a specific reason to call out a location manager in a review, but Elizabeth Krekel found one hell of a house for “Verity.” It doesn’t just act as Frohna’s playground, with mirrors, glass, contrasting architecture and a crap load of Vs playing throughout the structure; it also feels like a character in its own right thanks to production designer Amy Williams. The Crawfords’ house is a prison, and “Verity” has no intention of telling you who it’s keeping trapped.
The runtime of “Verity” is a significant barrier, and its screenplay thinks it’s a bit too smart for its own good. The film has its feet in two worlds: one is a super serious psychological thriller that wants you to question your belief in the truth, and the other is a slightly campy, sexy, nonsense story that has no interest in the truth and just wants everyone to make out. Either one would have been great, but playing on both sides of the fence doesn’t do Showalter’s film any favors.
Still, for all its issues, “Verity” feels like the perfect movie to put on with your girlfriends. It might not hold everyone’s attention, but it’s probably great fun to scream-laugh with as the absurdities unfold.
In the end, the film wants you to ask yourself whose reality is true. Did she do it? Did he? Are all of them bad? Was it Colonel Mustard with the candle stick?! I don’t know that “Verity” is noteworthy enough to spark that continued conversation long after the credits roll, but you might have some fun along the way.
“Verity” opens exclusively in theaters Oct. 2.