The first three adaptations of novels by Colleen Hoover — It Ends With Us, Regretting You and Reminders of Him — were unabashed melodramas, happily content to exist in a sort of elevated Lifetime context. With Verity, however, the filmmakers are aiming for prestige, thanks to the help of two excellent actresses.

Verity Stars Anne Hathaway and Dakota Johnson as Colleen Hoover-esque Novelists

While Verity may have grander ambitions, its story is no less tawdry. Bestselling author Verity Crawford (Anne Hathaway) — whose book jackets look quite a bit like those wrapped around Hoover’s own tomes — has built a career on pitch-black thrillers told exclusively from the villain’s perspective. Lowen Ashleigh (Dakota Johnson) is a well-reviewed but little-read writer in the same genre; she’s coping with the financial failure of her latest novel and the recent loss of her mother.

Ashleigh is drawn to a slick publishing house with an unusual offer: Crawford has quietly been sidelined by a car accident, and the book label needs someone to keep the novels flowing. Enchanted by Crawford’s charming husband (Josh Hartnett), Ashleigh moves into the couple’s remote home, discovering that the celebrity writer is actually catatonic and unlikely to recover.

Given unfettered access to Crawford’s notes, Ashleigh quickly discovers secrets beneath the couple’s enviable exterior. (And if any aspiring thriller writers want an idea for a real twist, here’s one: Create a perfect-seeming couple whose perfect exterior is, in fact, genuine and doesn’t hide any dark secrets. No one would see it coming.)

A Tortured Plot Is Elevated by Its Stars

Verity is a fascinating tale, if not exactly a subtle one; its milieu may suggest Daphne Du Maurier, but its story beats recall Days of Our Lives. There’s nothing wrong with that — everyone loves a bit of pulp — but it’s a plot that could easily fall into hokum if not deftly handled.

Director Michael Showalter, whose roots in comedies such as Wet Hot American Summer have given way to Oscar-bait dramedies such as The Big Sick and The Eyes of Tammy Faye, does sturdy work, even inserting artful composition into key scenes. But the film belongs to its stars, who ultimately carry it even when the drama sags.

Johnson, who knows a thing or two about big-screen book adaptations, continues to prove that she’s a powerful and charming actress. Hathaway, however, transcends, giving one of her best performances — a strong statement, considering she already has an Oscar and has been great in three other movies this year alone; Mother Mary, The Odyssey, and The End of Oak Street, all of which we’ve reviewed. She walks a tightrope, constantly making subtle adjustments that call her every word into question. The film depends on this theatrical subterfuge — and Hathaway knocks it out of the park.

After earning a pair of back-to-back Best Director Oscars — a feat only matched by John Ford and Joseph L. Mankiewicz — director Alejandro González Iñárritu disappeared from theaters. After 2015’s The Revenant, his next film was the unremarkable 2022 black comedy Bardo, made for Netflix. The new film Digger, an ecological satire and star vehicle for Tom Cruise, is the director’s first theatrical release in 11 years.

Digger Stars Tom Cruise as a Reckless Oil Baron

Aiming for the middle ground behind his braggadocious turn in Magnolia and his over-the-top scenery chewing in Tropic Thunder, Tom Cruise stars as Digger Rockwell, an aging oil baron equally obsessed with domination of the planet and his 30-year-old cat, Maggie. Rockwell awakens one morning to a raft of bad news: There’s an alarming crack forming in a glacier where he’s set up an oil rig, and the cat is not so much dying as functionally dead.

More concerned with the feline than the fissure, Rockwell dismisses the concerns of his scientists — only to be swiftly informed by a terrified toady (Riz Ahmed) that the rig has blown up and a giant glacier is drifting toward Europe. As he gathers the blustering President (John Goodman) and most of the United States’ military brass, it becomes clear that millions will die in a European tsunami as a result of the disaster.

Digger Has Twists in Store, But They’ll Only Leave You Frustrated

It’s impossible to go any deeper into the plot of Digger without giving away several key developments that are obscured by the film’s marketing and trailer. The film has been presented as something of a Coen brothers-style satire; while I think the film is indeed satirical, its approach to farce is preachy, performatively clever and frustrating.

One key development seems designed to make the audience check out of the main storyline, only to be hooked back in by another twist — a narrative merry-go-round that is far more infuriating than intriguing.

Your mileage may vary on these choices, but even if you accept them, the film is just no good. Cruise no longer seems to have the acting muscle necessary to make his big choices work, and the rest of the cast — including a criminally underutilized Sandra Hüller — doesn’t do much better. (Ahmed is the easy MVP.) Most of the jokes don’t land; many of the scenes are dull; and the few good ideas are quickly discarded in favor of more directorial tapdancing.

Iñárritu, who also co-wrote the film with a trio of collaborators, has made some excellent films, including his Oscar-winning duo The Revenant and Birdman. Those movies are far in the rearview mirror, however, and the director may just be out of practice. I’m sure he has more good work in him, but you won’t find it in Digger.

With Few Other New Releases, Verity and Digger Tangle with Old (and Older) Competition at the Movies

The only other new release this week is Rolling Loud, a comedy about a father losing his teen son at the massive hip-hop festival of the same name; Travis Scott and other rappers join a cast featuring Owen Wilson, Matt Rife and (somehow) Henry Winkler. It’s not expected to make much of a splash, as Verity is expected to top the box office. To do so, it’ll have to eclipse a seven-year-old film; last week’s winner was the encore presentation of Avengers: Endgame, as the re-release topped the box office and became one of the most successful repertory releases ever.

Elsewhere at the box office, our pick from last week, Primetime, opened in 4th place — just a bit behind Brad Pitt in Heart of the Beast, a film that failed to impress anyone in the TABLE offices. Both couldn’t quite match the second-weekend total of Resident Evil, the horror hit that revitalized the zombie franchise; Zach Cregger’s film managed a second-place finish in its sophomore frame. Fading fast — and with good cause — is Practical Magic 2, which failed to properly mix its midnight margaritas, metaphorically speaking.

Read more of Sean Collier’s movie reviews in our guide to the arts, culture, and entertainment.

About the Author

Sean Collier is the editor-in-chief of Shady Ave and the arts and culture editor of TABLE Magazine. Before joining the TABLE Media team, he spent nearly 15 years as a writer, editor and columnist at Pittsburgh Magazine. As the in-house film critic for the top-rated WDVE Morning Show since 2009, he’s been Pittsburgh’s most widely heard voice on movies for nearly two decades. A Pittsburgh native, Sean has since 2020 appeared weekly on KDKA-TV’s popular Pittsburgh Today Live talk show. He’s the co-founder of Vigilance Theater Group and an active stand-up comedian and event host. He can be found on Instagram and Twitter at @seancollierpgh.

Featured Photo Courtesy of Alisha Wetherill/Amazon

Subscribe to TABLE Magazine’s print edition.

Who would’ve thought it — at least after watching the Twilight films? Robert Pattinson, once a heartthrob whose acting ability was shaky at best, has slowly developed into a captivating and even chameleonic screen presence. With Primetime, a film about the rise and fall of controversial docu-series To Catch a Predator, Pattinson now has a solid chance at an Oscar nomination. And it would be richly deserved.

Primetime Stars Robert Pattinson as To Catch a Predator Host Chris Hansen

Primetime begins with To Catch a Predator already in production. We watch the show’s signature moment, which would be repeated 20 times over the one (and only) season the show aired: A man arrives at a large, suburban home, believing he’s meeting a minor for sex. An actor portraying the child greets him, then leaves the room. Chris Hansen (Robert Pattinson), the show’s oddly intense host, emerges and questions the man, eventually allowing him to leave — whereupon he’s immediately arrested.

It was controversial from the moment it began, raising ethical questions about both law enforcement (few of the operations depicted on the show resulted in convictions) and entertainment (producers were accused of any number of misdeeds in pursuit of viewers). The film, from director Lance Oppenheim, focuses on the host behind the show — an oily and striving oddball who dreams of network-television glory, intimidated by, and jealous of, the more palatable reporter Stone Phillips.

To the shock of the executives, To Catch a Predator becomes a hit and gets moved to a primetime slot — opposite Lost, much to Hansen’s delight. Behind the success, though, a host of problems arises: The young actor tasked with playing the bait (Skyler Gisondo) feels conflicted about his role; Hansen’s producer (Merritt Wever) struggles to keep the train on the rails; and, most distractingly, an affair threatens Hansen’s morally righteous image.

Director Lance Oppenheim Shows Promise — While Robert Pattinson Excels

Oppenheim, primarily a documentarian, makes his feature debut with Primetime. Many of his stylistic choices are strong; he frames the film in a 1:1 box, like a gigantic, leering television, and offers unflattering angles, recalling the show’s treatment of its villains. The cinematography, by David Bolen, washes the colors into bright primary tones — like an old tube television losing its luster.

Some of the director’s choices are too showy; clearly delighted with the opportunity to add a dramatic score, he overplays it, soaking every frame with strings. There’s hardly time to dwell on such matters, though; Pattinson is stealing the show with gusto.

In his portrayal, Hansen is desperate, duplicitous and unraveling. Behind the scenes, he practices reciting the obscene messages the predators have sent to their targets, nasally sneering through line readings of smut. As his life deteriorates, Hansen stares continuously into the distance as if searching for the glory he feels he deserves.

It’s a masterful performance — and yes, it should be recognized by the Academy. Pattinson has demonstrated his potential in films such as The Odyssey, Mickey 17 and Good Time; here, he fully embodies that promise.

If you’re one of those viewers who can’t stand the sight of a dog in peril, Heart of the Beast may not be for you. If you’re a viewer that doesn’t want to spend 101 minutes in the wilderness without much movement in terms of plot — and nearly no characters — Heart of the Beast may not be for you. Frankly: Heart of the Beast may not be for anyone, handsomely made though it is.

Brad Pitt Stars as a Troubled Soldier Looking for Solitude in Heart of the Beast

The one undeniable asset of Heart of the Beast is its lead performance — a soulful, sensitive and achingly real turn that will surely captivate viewers.

I’m referring, of course, to the dog.

As wounded combat canine Odin, a 6-year-old pooch named Uber gives one of the great animal performances of all time. His A-list co-star can’t really keep up; Pitt seems distracted at best throughout Heart of the Beast, a rote tale of survival.

When James (Pitt) suffers a mild heart attack while flying a single-engine plane, he and his beloved German Shepherd crash into the cruel Alaskan wilderness. Over the better part of a week, the pair will battle wolves, bears, perilous cliffs and raging water in a desperate bid for salvation.

It’s frequently thrilling, if not particularly interesting.

The Message Is Worthy, but the Execution Is Frustrating

I think that Heart of the Beast is a parable for the dangers of isolation, particularly as it applies to veterans. That’s a worthy subject; anything that shines light on the need for ongoing support for those who have served is admirable. (If that wasn’t director David Ayer’s intention, and this is merely an action movie about a dog … you can lower my score.)

In execution, however, Heart of the Beast is an unpleasant experience. The film wisely begins with a flash-forward that depicts Odin walking out of the woods and finding help; we are thus spared the constant worry that the pooch won’t make it. Still, though, watching a troubled man and a wounded dog meet with repeated pain and disaster for 100 minutes is no great way to spend an afternoon.

On its merits, there are things to recommend about Heart of the Beast. It’s less than the sum of its parts, however, and I can’t imagine why anyone would seek it out.

Unless they really want to see great dog acting. I know I raved about Robert Pattinson earlier, but if I had to choose between him and Uber based on performance alone, I’d have a tough time.

Dreamworks Animation Gets Top Marks, and More New Movies Out Now

While the studio is often associated with the likes of Shrek, Trolls and the much-maligned Boss Baby, Dreamworks Animation is more than capable of producing affecting and beautiful films. (2024’s The Wild Robot was one of that year’s best movies, bar none.) Now, the studio has received some of its best notices in years for Forgotten Island, an adventure inspired by creatures from Filipino folklore. It’s early yet, but as of this writing, the film has a sterling 96% rating on Rotten Tomatoes.

Meanwhile, at home, Netflix is releasing Unabomber, a film that explores where it all went wrong for Ted Kaczynski (expect more tense conversations than, well, bombs). Reviews aren’t yet out, but the film boasts a strong cast, with Russell Crowe playing the unethical Professor Henry Murray, Shailene Woodley as a dogged FBI agent and Jacob Tremblay — memorable for his turn in the Oscar-winning Room — as a 16-year-old Kaczynski.

Plus, Don’t Miss Our Past Reviews of Blockbuster Hits

Box-office prognostication for this weekend is all over the place, but most forecasters are expecting a (slightly) vintage offering to claim the top spot. Marvel is re-releasing the blockbuster Avengers: Endgame in anticipation of December’s Avengers: Doomsday; it should outperform most re-releases as we all flash back to that heady weekend where it seemed the whole country was at the movies. Of course, you could also jump back into the MCU with Spider-Man: Brand New Day, which is now the top-grossing film … ever.

Meanwhile, last week’s winner, Resident Evil, remains absolutely worth your time — provided you have a strong stomach and a tolerance for gallows humor. The video-game adaptation is an excellent choice for a spooky-season outing; stay tuned for our own picks for retro frights in cinemas, due later this month. Less scary but no less seasonal: Practical Magic 2, the belated sequel with significantly more witchcraft than its predecessor. Nicole, Sandra and company are still in theaters — but you can bet on a streaming release before Halloween night.

Explore the summer’s past releases with Sean’s line-up of the summer blockbuster season.

About the Author

Sean Collier is the editor-in-chief of Shady Ave and the arts and culture editor of TABLE Magazine. Before joining the TABLE Media team, he spent nearly 15 years as a writer, editor and columnist at Pittsburgh Magazine. As the in-house film critic for the top-rated WDVE Morning Show since 2009, he’s been Pittsburgh’s most widely heard voice on movies for nearly two decades. A Pittsburgh native, Sean has since 2020 appeared weekly on KDKA-TV’s popular Pittsburgh Today Live talk show. He’s the co-founder of Vigilance Theater Group and an active stand-up comedian and event host. He can be found on Instagram and Twitter at @seancollierpgh.

Featured Photo Courtesy of A24

Subscribe to TABLE Magazine’s print edition.

Last year, director Zach Cregger released the alternately chilling and uncanny Weapons, a genre-defying film that earned Amy Madigan an Oscar. He follows that effort by trying to revive a horror property that never really had a signature film: Resident Evil, the video game adaptation about an evil corporation unleashing a zombie plague on humanity. Without a marquee director, another Resident Evil reboot barely would’ve been a headline; now, it counts as one of the most anticipated horror films of the year.

You Don’t Have to Be a Video Game Fan to Appreciate the New Resident Evil Movie

Cregger’s first, and best, decision: This is its own movie, with no important narrative ties to the previous films or the games. The Resident Evil video game series comprises nearly 30 standalone chapters, accompanied by seven theatrical films and a library of printed media; while there are undoubtedly references and nods to some of that lore in Cregger’s film, no advance knowledge is required.

Isn’t that refreshing? A franchise movie that doesn’t make you do any homework — a rarity in 2026. 

Mutated zombies aside, the premise actually could be described as simple: We follow an anonymous, hard-luck twentysomething on a very bad day. Our reluctant hero, Bryan (Austin Abrams), is a medical courier (a “glorified Postmates driver,” as he puts it) who’s trying to get home to his girlfriend; they’re in the midst of a spat, and he’d like to put things right. Alas, duty calls: The hospital desperately needs him to deliver an important parcel to far-off Raccoon City, on the other side of some icy mountain roads.

When an odd woman bursts out of the forest and into the path of his car, Bryan’s night takes a turn. The rest of Resident Evil is a nearly moment-by-moment account of what anyone might do if faced with an escalating set of absurd circumstances; dramatically, it’s clean and satisfying. Viscerally, it’s gory and shocking. That’s a powerful combination.

A Strong Script and Clever Direction From Zach Cregger Make Resident Evil a Winner

Structurally, it’ll feel like a video game; Bryan moves from location to location, improving his skills and equipment, trying to get a grasp on the situation around him. Unlike films that more directly play with gaming tropes (there’s a new Jumanji out this Christmas), though, it doesn’t feel hokey — it feels exploratory and even immersive.

Credit a script, also by Cregger (with help from Shay Hatten), that strips the action down to its essentials and chucks everything that doesn’t help the mood. Cregger says he cut a number of jokes out of the movie, fearing that the film was getting too funny, but there’s still plenty of macabre humor to be found in the finished product. He manages to maintain a perfectly balanced tone in the face of gore and chaos.

He’s also, quite simply, a very skilled director; he knows how to visually dance with the audience, keeping the viewer rapt through composition and rhythm. Sure, there are undead monsters everywhere, but you’re hooked on the storytelling more than the violence — a rarity. Cregger hasn’t just revitalized this franchise; he’s redefined it.

For the Lighter Kind of Spooky, There’s Shaun the Sheep — Plus More Movies in Theaters

For a decidedly all-ages — but no less artful — spooky adventure, consider Shaun the Sheep: The Beast of Mossy Bottom. No, really, consider it. This is a painstaking work of stop-motion animation that derives belly laughs from tiny movements and careful composition, and it does so with no spoken dialogue. This isn’t merely something for the kids; it’s a remarkable achievement and a study in comedy. The seasonally appropriate plot involves Shaun turning mad scientist and inventing a formula to help pumpkins grow overnight … only for the hapless farmer to use that formula as hair cream, covering himself in fur and convincing the town he’s Bigfoot. It’s funny and charming; blessedly, it’s also only 80 minutes long. There may be no better choice for families looking for a Halloween compromise — and it’ll brighten your day regardless of age.

Those who grumble that they don’t make ’em like they used to might want to watch The Weight, a new western drama in select theaters this weekend. Russell Crowe and Ethan Hawke star in this tale of desperate choices, directed by Padraic McKinley in his feature debut. The film ticks several boxes of cinematic rarity: It’s unabashedly for adults, it’s an original story and it’s in a genre that’s fallen out of favor. What’s more, early reviews are glowing; writing for rogerebert.com, Brian Tallerico says “the last ten minutes of The Weight are as satisfying as anything you’re likely to see this year.”

Don’t Miss These Already Released Movies Too

Last week’s top new release, Practical Magic 2, didn’t exactly wow us … but it still managed to win the weekend. That ended a two-month stranglehold on the box office; it was the first weekend in the last nine not won by either The Odyssey or Spider-Man: Brand New Day. (What a summer for Tom Holland, Zendaya and — to a slightly lesser extent — Jon Bernthal.) Read our review of Practical Magic 2 if you’re determined to try the film anyway; the actors are likable, at least! And yes, there’s still time to see both Spider-Man and Odysseus (Spidysseus, for short); cinemas will be sure to get every dollar out of this year’s champions.

Start streaming this summer’s past releases with Sean’s line-up of the summer blockbuster season. Or, discover more of the arts, culture, and entertainment scene in Pittsburgh.

About the Author

Sean Collier is the editor-in-chief of Shady Ave and the arts and culture editor of TABLE Magazine. Before joining the TABLE Media team, he spent nearly 15 years as a writer, editor and columnist at Pittsburgh Magazine. As the in-house film critic for the top-rated WDVE Morning Show since 2009, he’s been Pittsburgh’s most widely heard voice on movies for nearly two decades. A Pittsburgh native, Sean has since 2020 appeared weekly on KDKA-TV’s popular Pittsburgh Today Live talk show. He’s the co-founder of Vigilance Theater Group and an active stand-up comedian and event host. He can be found on Instagram and Twitter at @seancollierpgh.

Photos Courtesy of Dušan Martinček / Sony

Subscribe to TABLE Magazine’s print edition.

Twenty-five years of narrative time separate the events of Practical Magic from its sequel. In Practical Magic 2, enough time has passed that there’s a new generation of witches in the Owens family’s New England home. 

It struck me that that narrative distance is actually less time than has passed in the real world; a full 29 years have gone by since the original film was released. So: why now? If there’s an answer, it’s not present on screen.

A Gentle, Witchy Warmup for Spooky Season in Practical Magic 2

We rejoin the Owens sisters — happily supernatural Gillian (Nicole Kidman) and anxious, resistant Sally (Sandra Bullock) — with their families gathered in their autumnal New England home. All candles, thoughtful scarves and full glasses, the opening scenes of Practical Magic 2 do not contain a plot so much as a well-appointed Pinterest board.

As was the case in the original film, however, tragedy interrupts the mood. Kylie Owens (Joey King), eldest daughter of Sally, has fallen in love with a floppy-haired hunk (Xolo Maridueña); that means trouble, as the Owens line is still cursed to have their lovers meet an untimely end.

This sends Kylie off to search for a solution in the United Kingdom, as the film trades New England for the old one without much of an aesthetic shift. Here, the film devolves into a drab plot that might be out of Harry Potter, albeit interspersed with considerably more reflections on sisterhood.

Occupying the Unsatisfying Middle Ground Between Mood Piece and Weird Fable

Had Practical Magic 2 been merely a few weeks in the life of some charming witches (played by talented folks), it might’ve come together. Had we dispensed with some of the callbacks and meandering, there’s a chance it would’ve worked as an enjoyable caper. Instead, it’s neither; too dire to be playful, too constructed to be charming, too cautious to be surprising.

The first Practical Magic is quite good; it takes stars at the peak of their charisma and gives them license to approach a fantastical story with madcap energy. Here, the weight of the years and overly maudlin direction (from Bird Box helmer Susanne Bier) do not leave room for the shaggy fun of the original.

We all enjoy the occasional nostalgia hit, and recapturing Practical Magic was worth trying. Unfortunately, some movies are inextricably the product of their time. You can look back, but the view is never quite the same.

Cinematic Flotsam Arrives in Theaters as We Wait for Awards Season

With no disrespect to less-heralded features, early September has become a bit of a dumping ground — too late for summer, a bit too early for the five-month grind of the awards campaign. Besides Practical Magic 2, we’re mostly left with curiosities when it comes to new releases this weekend. It’s a big weekend for Brit-pop fans, at least, as Oasis: Don’t Look Back in Anger arrives in cinemas. The film documents the band’s reunion tour and includes the first joint interview from the mercurial Gallagher brothers in more than a decade; due to the relative lack of competition this weekend, it’s even getting some premium-format screens. Go feel supersonic, fans.

Runner, starring Owen Wilson, also sneaks into theaters this weekend. The script — from a pair of newcomers, Miles Hubley and Tommy White — was rescued from the so-called “Black List” of well-regarded screenplays that struggled to find a studio. Reviews are lukewarm, so perhaps the story is better than the execution, but it may be worth a shot for action fans. (And it’s not to be confused with the Amazon film The Runner, which itself is only a couple of weeks old. Try harder with these titles, Hollywood!)

Speaking of repetition: The Uprising, a drama starring Andrew Garfield as a young Robin Hood, also hits theaters this weekend. This is the second Robin Hood picture of the year, after A24’s middling The Death of Robin Hood a few months back. (At least they differ in the age of the Robin Hood presented.) Despite having well-regarded filmmaker Paul Greengrass as both writer and director, The Uprising has been met with scant praise.

But, There’s Plenty More to See in Theaters Now…

Last week, we wondered if anything could beat Spider-Man at the box office — and the answer was yes. Like so many suitors, we assumed Odysseus wasn’t coming back, but The Odyssey made a surprise return to the top spot on the weekend charts, edging out the Marvel film to reclaim the crown. We’ve got positive reviews of both films, so feel free to catch up with whichever you missed. We also liked last week’s bronze finisher, Coyote vs. Acme, a delightful celebration of animation — and friendship! As for last week’s review topic, the historical drama By Any Means, the less said, the better — good, then, that no one bothered to go see it.

Explore this summer’s past releases with Sean’s line-up of the summer blockbuster season.

About the Author

Sean Collier is the editor-in-chief of Shady Ave and the arts and culture editor of TABLE Magazine. Before joining the TABLE Media team, he spent nearly 15 years as a writer, editor and columnist at Pittsburgh Magazine. As the in-house film critic for the top-rated WDVE Morning Show since 2009, he’s been Pittsburgh’s most widely heard voice on movies for nearly two decades. A Pittsburgh native, Sean has since 2020 appeared weekly on KDKA-TV’s popular Pittsburgh Today Live talk show. He’s the co-founder of Vigilance Theater Group and an active stand-up comedian and event host. He can be found on Instagram and Twitter at @seancollierpgh.

Photos Courtesy of Warner Bros. Pictures

Subscribe to TABLE Magazine’s print edition.