A ghostwriter finds herself entangled with a possibly supernatural presence in the film adaptation of Colleen Hoover’s “Verity.”
In my previous review of “The Housemaid,” I noted that even sensational novels can occasionally translate into captivating films. Unfortunately, “Verity” does not hold up as a strong example of that principle. Although I struggled with the source material’s readability, that doesn’t necessarily disqualify a cinematic interpretation. In fact, this film may stand as the best adaptation of a Colleen Hoover novel to date, primarily due to two standout performances.
The narrative kicks off with Lowen Ashleigh, portrayed by Dakota Johnson, an aspiring novelist who receives a covert proposition from her literary agent. The offer involves completing a series of crime novels for the renowned but incapacitated author Verity Crawford, played by Anne Hathaway. Following a severe car accident, Verity is unable to finish her books, prompting her New York publishing house to enlist Lowen to write the final installments. While staying in Verity’s lavish Vermont estate, Lowen sifts through the author’s notes alongside Verity’s husband Jeremy (Josh Hartnett), their young son (Brady Morgan), a nurse (Irina Dvorovenko), and Verity herself, who is in a near-vegetative state.
This brings to mind a recurring question regarding Hoover’s choice of character names. Previous protagonists have included names like Auburn and Atlas, leading one to wonder why there aren’t more relatable names like Bob and Mary. It almost feels like a comedic setup, reminiscent of a character introduction by W.C. Fields.
Verity is noted for her narratives from the perspective of villains, drawing comparisons to Patricia Highsmith, though her writing and that of Hoover fall significantly short of Highsmith’s standard. The screenplay by Nick Antosca unfortunately mirrors this shortcoming, prioritizing Verity’s writing style, which lacks flavor and intrigue. One line reads, “There is no light where we’re going. Darkness ahead,” evoking little more than blandness.
Nonetheless, the thematic concepts in Hoover’s work show more promise than her prose. Lowen stumbles upon a concealed thumb drive in Verity’s office that contains a chilling memoir draft where Verity contemplates harming her own children, one of whom tragically died in a recent boating accident. These flashbacks allow Hathaway to showcase her acting prowess, portraying a mother grappling with dark impulses. The film’s release coinciding with the real-life controversy surrounding the Lindsay Clancy murder trial adds an unsettling layer to the narrative.
Hartnett delivers an impressive performance as Jeremy, a devoted father and husband concealing his own grief behind a polite exterior. Director Michael Showalter, known primarily for comedies, shines when the film delves into horror elements, particularly as Lowen begins to see Verity roaming the halls despite her supposed paralysis. However, the film could have benefited from more of this tension and humor, including a humorous moment when Lowen watches a YouTube interview of Verity conducted by Sean Evans over spicy chicken wings on “Hot Ones.”
Regrettably, Showalter doesn’t quite capture the pacing necessary for a gripping thriller. The story drags before Lowen arrives at Verity’s home, with insufficient explanation of Jeremy’s mysterious job that often leaves him away from his family. This raises questions about the family’s financial dynamics, given that Verity’s success supposedly eliminates the need for Jeremy’s income. Johnson’s portrayal of Lowen lacks assertiveness, and it is implausible that she never considers the memoir might be fictional. The inclusion of certain bizarre elements only adds confusion.
Despite a more energetic conclusion, “Verity” ultimately falters due to plot inconsistencies and a lack of coherence. While some may argue that Hoover’s fanbase might overlook these flaws, I believe they deserve a more polished and intelligent execution than what this adaptation offers.
Verity
Starring Anne Hathaway, Dakota Johnson, and Josh Hartnett. Directed by Michael Showalter. Written by Nick Antosca, based on Colleen Hoover’s novel. Rated R.
