Verity has everything to be one of the next protagonists of the Razzie Awards, the “anti-Oscar” awards at the worst films of the year. There is a thread in the audiovisual world that mixes the thriller with erotic nuances with more psychological elements, always complex relationships between men and women, sometimes declined also in Young Adult key. Verity fishes from this world by adapting the novel by Colleen Hoover, an author recently often taken by screenwriters and directors looking for similar titles.
The problem is that Verity has a visual and sound system from film for television, from product for streaming, from Saturday evening of Rai 2 in the sign of yellow, with high-level actors like Anne Hathaway, Dakota Johnson and Josh Hartnett. And seeing them reciting also seem to be afraid to be on Scherzi aside, because everything seems like a huge teasing, for the public and for those who love cinema. A simple product, which surely keeps glued waiting for the twist but which is built for a distracted audience and which must be captured again with music.
Verity, la trama
To avoid falling into unintentional spoilers, we mention what is the official plot of the film: “The writer Lowen Ashleigh (Dakota Johnson) accepts the assignment of ghostwriter for the famous author Verity Crawford (Anne Hathaway), but will soon be faced with disturbing truths. A psychological thriller where the boundary between reality and manipulation becomes dangerously subtle.” Something you understand, much more than the movie you don’t understand. And that’s right.
Perché non funziona
It takes the first minutes to understand that Verity is not a film that deserves the exit to the room. The film begins with a very fast scene, thrown very randomly in which the character of Verity appears during an interview, then there is a sudden jump of a year. Not a complete scene that somehow introduces the character, but a quick sketch, as if someone had suddenly cut the film by putting at first a random scene.
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At that point the film begins and is dragged into a vortex of random situations with the aim of showing that the truth is manipulated according to the perspective of those who tell it. Because this is the juice of a film that plays with cold twists and situations built thanks to music. A musical carpet so invasive that serves to make the audience understand what needs to be expected in that scene but above all serves to draw attention. Also for this it seems like a movie for streaming (and not by chance behind there is Amazon MGM Studios and then it will soon arrive on Prime Video), because it has all those references, those constructions of scenes that are thought for the distracted audience of the web. But not only, they are also suitable to be transformed into clips for the web.
The question is why Anne Hathaway accepted a project of this kind, since it is certainly not in a time when she works little and starts getting an Academy Award nomination for Odyssey. Dakota Johnson has the same opposite expression throughout the film and you’ll be asked whether it’s part of the screenplay or the film reaction.
But there is one but: if you love this kind of film, those mysterious thrillers full of scene shots, maybe even a bit itchy with scenes of sex0 and a pinch of romance, then Verity does for you and you will spend 2 pleasant hours. Surely it’s a movie that entertains but sorry to say, it’s not worth the money of the ticket, a subscription along with other stuff yes, but a ticket no.
L’articolo Verity, the review: a psychological thriller that remembers that now even at the cinema we distract from Dituttounpop.it.
