Verity (2026)

Walsh calls the film the best and most stylish Colleen Hoover adaptation so far, praising its campy, twisty approach. She singles out the trio’s performances and the sumptuous interiors, while noting that the story lacks backstory to explain its characters’ motives.

Ehrlich finds the film a ludicrous but enjoyable psycho-thriller whose twists expose how readily people impose stories on others. He praises Dakota Johnson’s subtle performance and Josh Hartnett’s warm, convincing turn, while faulting the film’s sterile atmosphere.

The review finds Verity watchable but uneven, falling short of the genre workout it promises. It praises the film’s eerie, well-composed visuals, while noting that its stars cannot overcome the story’s weightless, awkwardly heightened feel.

The review suggests the steamy thriller may appeal to viewers drawn to old-fashioned erotic suspense. It singles out its throwback mix of romance and erotic-thriller conventions as the source of its appeal.

The review finds that the adaptation’s dark, pulpy promise is not fully fulfilled. It faults the film for not going far enough with its darkness.

The critic finds the film muted, dull, and unable to deliver on its promised thrills or drama. Hathaway’s archness in the memoir sequences is singled out as the one performance that captures the story’s potential.

The review finds the film an adequate melodrama that never builds into a satisfying thriller. It praises the leads’ performances but faults the meandering plot and unsatisfying final revelations.

The critic finds the adaptation flimsy and says its leads struggle to elevate it. The glossy erotic-thriller approach is the only specific quality noted in the accessible text.

Bradshaw finds the film entertaining in premise but ultimately unconvincing. He faults the third act for collapsing into implausible plot points and an unsatisfying ambiguity.

Willmore finds the film frustratingly incoherent, with its tone and twists pulling in incompatible directions. She singles out the performances, especially Dakota Johnson’s detached approach and Josh Hartnett’s flatness, as failing to make the story work.

Lawson finds the film a weak, frustrating mystery that becomes increasingly foolish as its plot unfolds. He praises its early mood and playful details, but singles out the clunky twists and Dakota Johnson’s disengaged performance as major problems.

Brody finds the film an absurd, unsuccessful crime drama that wastes its cast’s talent. He particularly faults its implausible plotting, ungrounded characters, and failure to create a convincing world.

Lodge finds the film a flat, listless dud that fails as an erotic thriller. He singles out its stilted pacing and overplayed, second-guessed twists as especially ineffective.

The critic finds it a hugely entertaining, campy thriller, though its rushed ending keeps it from fully delivering. They praise the performances, particularly Dakota Johnson and Anne Hathaway, and Showalter’s confident handling of the film’s pulpy tone.

Lane finds the adaptation entertaining and mostly faithful, but says it plays too safe and fails to develop a stronger identity. She especially praises Anne Hathaway’s nuanced performance and the leading trio’s chemistry.

The critic finds the film silly and overstuffed, but entertaining enough for a fun group watch. They praise its visually striking cinematography and house setting, while faulting its excessive twists and uneven tone.

Hammond finds the thriller watchable but underwhelming, saying it feels like leftovers and its twists are predictable. He praises Dakota Johnson’s magnetic performance, which carries much of the film.

The critic finds the film trashy and more laughable than frightening, despite its self-aware approach. Anne Hathaway’s cartoonishly villainous performance is the main reason to indulge in the film’s silliness.

Perez finds the film’s self-aware, trashy erotic-thriller approach initially entertaining but ultimately unsuccessful. He praises its delirious camp and genre play, while faulting its forced romance and escalating nonsense.

The critic finds the film too controlled and merely serviceable to deliver the wild erotic thriller it promises. Hathaway and Johnson are praised for embracing its trashy fun, while Showalter’s cautious direction and Hartnett’s flat performance hold it back.

Sandwell finds the thriller dull and tonally muddled, despite a more lively final act. He praises Hathaway’s theatrical performance and the foreboding production design of the Crawford house.

The critic finds the film dull and weighed down by its source material. She praises Anne Hathaway’s performance, saying her timing and expressions provide the film’s saving grace.