Anne Hathaway’s Colleen Hoover Thriller Officially Crosses $145M Worldwide

Anne Hathaway has spent much of her career playing characters audiences can’t help but fall in love with, but her latest movie is a reminder that she can be considerably more terrifying when she wants to be. From The Devil Wears Prada to Interstellar, the Oscar-winning actress has tackled just about every genre imaginable, but her new psychological thriller takes her into some particularly dark territory.

Verity has officially passed $145 million at the worldwide box office, continuing its successful theatrical run after opening in North America earlier this month. It’s earned $66.1 million domestically and another $79.2 million internationally, bringing its global total to $145.3 million. The movie opened with an impressive $32 million domestically, showing that audiences were more than happy to turn up for another dark and twisted story from one of publishing’s biggest names.

Adapted from Colleen Hoover‘s best-selling novel, this seductive, psychological thriller follows renowned author Verity Crawford and Lowen Ashleigh, a struggling writer who relocates to the remote Crawford estate to ghostwrite for Verity. After Lowen uncovers what appears to be Verity’s chilling autobiographical notes, she wrestles with the disturbing and twisted confessions about Verity’s husband Jeremy, and finds it hard to separate fiction from reality, manipulation from attraction, and opportunity from obsession. Also, there’s a headboard with teeth marks in it. Make of that what you will.

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

Who Stars in ‘Verity’?

The cast is led by Hathaway as Verity Crawford, Dakota Johnson (Fifty Shades of Grey) as Lowen Ashleigh, and Josh Hartnett (Oppenheimer) as Jeremy Crawford. They are joined by Ismael Cruz Córdova (The Lord of the Rings: The Rings of Power) as Corey, Brady Wagner as Crew Crawford, and Irina Dvorovenko (The Americans) as Anna.

The movie’s latest milestone puts it comfortably beyond the $140 million mark, with its international performance now accounting for slightly more than half of its worldwide earnings. After opening to $32,031,011 domestically, Verity has gone on to earn $66,092,402 in North America, while overseas audiences have contributed another $79.2 million.

Verity is a psychological thriller centering on Lowen Ashleigh, a writer hired to complete novels for Verity Crawford, a bestselling author incapacitated by an accident. As Lowen works at the Crawford residence, she unravels unsettling truths about Verity, intensifying the tension within the household.