Verdict: 7/10. A gripping, Verity (2026) uncomfortable thriller with a standout Anne Hathaway, held back by uneven pacing and an ending that withholds too much.

Quick Facts

• Release date: October 2, 2026, from Amazon MGM Studios; rated R, runtime 1h 54m, boxofficewatch
• Genre: Psychological thriller / mystery
• Based on: Colleen Hoover’s bestselling novel
• Main cast: Anne Hathaway (Verity), Dakota Johnson (Lowen), Josh Hartnett (Jeremy)
• My rating: 7/10

My Viewing Experience

I watched Verity at home on my laptop and hadn’t read the book. I expected a dark thriller with twists, and I wanted to see how the filmmakers would handle Hoover’s story. Going in blind helped. I formed my own theories about who was lying, and the film kept overturning them.

The Story (Spoiler-Free)

Lowen Ashleigh enters the Crawford household and finds herself tangled in a web of family secrets. She struggles to separate fiction from reality, and her growing closeness to Verity’s husband, Jeremy, complicates things further.

What hooked me was the film’s habit of making me doubt what I’d just learned. Whenever I thought I understood the situation, a new detail made me look at the characters differently. The discovery of the hidden manuscript was the moment I leaned in hardest. It changed how I saw both Verity and Jeremy, and I wanted the truth even more.

Performances

Anne Hathaway is the reason to watch. Her Verity is strange and hard to read, and her presence creates tension even when she barely speaks. I kept watching closely whenever she appeared.

Josh Hartnett makes Jeremy both charming and mysterious. You’re never sure how far Lowen, or you, should trust him.

Dakota Johnson captures Lowen’s confusion and curiosity well, though a few of her emotional moments could have hit harder.

My loyalties shifted as I watched. I started on Lowen’s side because she was trying to understand the family. The more she uncovered, the less certain I became about who was telling the truth. That shifting trust is the film’s best quality.

Direction, Atmosphere, and Pacing

The film builds an uneasy mood, especially inside the Crawford home. Lighting, shadows, and close-ups make ordinary moments feel suspicious, and the music adds tension. The pacing sags in a few places, and some scenes could have been shorter.

Watching on a laptop suited it. The quiet scenes pushed me to focus on dialogue, expressions, and small details.

How it compares: Verity shares secrets, trust, and unreliable characters with Gone Girl and The Girl on the Train. Gone Girl is the more carefully constructed film. Verity leans on psychological discomfort and lingering uncertainty. It has the atmosphere, but the storytelling could be tighter.

The Ending

I found it interesting but not fully satisfying. It leaves room for doubt, which makes it memorable, but I wanted clearer answers about the characters’ real intentions. If you need every thread tied up, this may frustrate you.

Tip for first-time viewers: Pay attention to dialogue and small details, don’t rush to trust anyone, and avoid spoilers beforehand.

Box Office Collection

• Production budget: about $40 million the-numbers
• Opening weekend: it took the No. 1 spot in North America with $32.6 million, continuing the streak of Colleen Hoover adaptations at the box office wral
• Worldwide total: about $162.7 million as of late October, roughly four times the budget

Its second weekend was rougher. The domestic weekend fell about 64% from the opening. The critical reception was weak. It earned a C+ CinemaScore and a 33% critics’ score on Rotten Tomatoes, yet the box office held up. One report said the opening landed below expectations, though it still finished first. Verity Worldwide Box Office: Crosses $100M Milestone +2

How it stacks up against other Hoover films: It Ends With Us remains the biggest Hoover adaptation by far, at $351.4 million worldwide in 2024. Verity did not come close to that, but it comfortably cleared its budget. screendaily

Why it worked commercially: I think it came down to the popularity of the novel, a recognizable cast, and the mystery that drew curious viewers. It shows a film can succeed commercially even when critics and audiences disagree about its quality.

Who Should Watch It?

Watch it if you like: psychological thrillers, family secrets, mysterious characters, dark adaptations of popular novels, and stories that keep you guessing.

Skip it if you prefer: fast-paced thrillers, clear answers, and carefully explained endings.

Final Verdict: 7/10

Hathaway’s performance and the unsettling atmosphere make it worth watching. The pacing and some story choices keep it from being great.

My interest in the Backrooms started the way it did for many people: through viral internet videos. The mysterious yellow rooms, the empty corridors, and the strange feeling of a place that shouldn’t exist pulled me in. So when A24 turned it into a full-length movie, I had one big question: could an internet horror concept built on short videos and unanswered questions really work as a feature film?

After watching Backrooms (2026), my answer is mostly yes. What stayed with me wasn’t a jump scare. It was the feeling of being trapped somewhere that doesn’t follow any normal rules.

In this Backrooms (2026) movie review, I cover the story, cast, and director, then break down what works, what doesn’t, and where to watch it. Updated October 2026: the film is now streaming. Details are in the “Box Office and Where to Watch” section.

Backrooms (2026) at a Glance

• Genre: Horror and sci-fi.
• Release date: May 29, 2026, in U.S. theaters, from A24. soapcentral
• Runtime: 110 minutes. the-numbers
• Age rating: Rated R for language and some violent content/bloody images. the-numbers
• Director: Kane Parsons.
• Screenwriter: Will Soodik, based on Parsons’ YouTube series. screendaily
• Main cast: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett and Lukita Maxwell. Deadline
• Production companies: A24, Atomic Monster, 21 Laps and Phobos, with co-financing from Chernin Entertainment. Deadline

What Is Backrooms About?

A24 has kept the plot close to the chest. The official synopsis says a strange doorway appears in the basement of a furniture showroom. From there, the film follows furniture store owner Clark and his therapist, Mary, as they discover a dimension of seemingly endless liminal spaces. The idea began as a 4chan creepypasta before Parsons turned it into a viral video series. BACKROOMS (2026) +2

I won’t spoil anything here. As someone who followed the online lore, I appreciated that the film adds character development and a clearer narrative without losing the unsettling identity that made it popular online. I didn’t want a straight recreation of the YouTube series, and I was glad it tries to expand the mythology rather than repeat familiar ideas.

Who Directed Backrooms?

The director is Kane Parsons, also known as Kane Pixels, the YouTuber and VFX artist behind the original series. He became A24’s youngest-ever director, and this is his feature debut. James Wan’s Atomic Monster is among the film’s producers. fangoria

Backrooms Cast

A24’s billing lists Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, and Lukita Maxwell. Ejiofor plays Clark and Reinsve plays his therapist, Mary. Avan Jogia is also in the cast, having joined alongside Duplass, Bennett, and Maxwell in July 2025 casting news. filmstories

Backrooms (2026) Movie Review

Direction: From YouTube Series to Feature Film

The hardest part of this adaptation was making a feature that doesn’t feel like a stretched-out short, and critics say Parsons mostly manages it. The film opens in found-footage style. Collider noted that the first ten minutes or so look like a ’90s camcorder recording, but that the film doesn’t stay in that format. The Prague Reporter said it quickly pivots to crisp digital cinematography and two tangible central characters. colliderpraguereporter

Deadline picked up a strong David Lynch influence and still judged the finished film to be its own thing. Screen Daily praised Parsons for avoiding the temptation to overcomplicate things and sticking to a stripped-back aesthetic. That restraint is the key directorial choice here. Deadlinescreendaily

Visuals and Production Design

The yellow rooms and empty corridors are the film’s signature, and a small team shaped them. The credits list Jeremy Cox as cinematographer, Greg Ng as editor, and Danny Vermette as production designer. Deadline also credited VFX supervisor Edward Douglas. Screen Daily argued that much of the creeping dread comes from the emptiness, from what is not there. In a film built on absence, framing and editing carry as much weight as any monster design. boxofficemojoscreendaily

Sound Design

If the visuals show you the space, the sound tells you it isn’t safe. Deadline called the sound design exceptional and highlighted an electronic score by Parsons and Edo van Breemen alongside constant noises that hint at what lies behind the walls and doors. The film pairs those noises with quiet, which makes the silences feel active rather than empty. Deadline

Performances

Ejiofor and Reinsve are the human anchor in a film full of space, and critics agree on that. Screen Daily described them as two sides of the same coin: he is impulsive, angry, and selfish; she is repressed, logical, and caring. The Prague Reporter said the two bring an emotional grounding most high-concept horror lacks, with Ejiofor showing mounting desperation and Reinsve finding depth in Mary’s quiet empathy. Collider added that Reinsve’s and Ejiofor’s performances improve as the movie goes on, though it found Clark’s motivations a little confusing. ‘Backrooms’ review: Chiwetel Ejiofor and Renate Reinsve lose themselves in creepy, slow-burn horror +2

Story and Character Depth

The story reaches for more than a simple creature feature. Screen Daily said the leads’ different reactions to the backrooms push the screenplay’s cerebral ideas of memory, trauma, and identity. The weakness is depth. The Prague Reporter noted that the script leaves certain aspects underdeveloped, and the AU Review critic said the leads compensate for slow pacing and purposefully vague characterizations. I felt the same gap: I wanted to understand the characters’ motivations better, and how the strange environment changed them. ‘Backrooms’ review: Chiwetel Ejiofor and Renate Reinsve lose themselves in creepy, slow-burn horror +2

Originality: What the Film Adds

Longtime fans will recognize the unsettling look, but the film adds two things. It puts human characters inside the space: a therapist and a patient who experience it differently. And it leaves room for interpretation, leaving the film open to interpretation and, it seems, the door open for more. Parsons has said he’s interested in expanding the Backrooms universe, though no new installment has been announced. screendailycomingsoon

Atmosphere vs. Scares

So is this a scary movie or an atmospheric one? Mostly atmospheric. Variety’s Owen Gleiberman wrote that “Parsons wrings true terror out of the sense of being enclosed.” That’s the kind of fear on offer: dread built from space and uncertainty rather than constant shocks. It is still rated R for language and some violent content/bloody images, so it isn’t bloodless. rottentomatoesthe-numbers

Critical Reception

Reviews are strong but not unanimous. Rotten Tomatoes showed 87% on the Tomatometer across 302 reviews, which means a minority of critics weren’t won over. The score changes over time, so check the live page. apple

The Scene That Sold Me

All of that craft comes together in the scene that stayed with me most. The characters find themselves surrounded by endless, nearly identical yellow rooms. At first, everything looks ordinary. But the longer the camera stays, the more uncomfortable it gets. The lighting feels artificial, the empty corridors seem to stretch forever, and the background sound tells you something is wrong even when nothing is happening.

I caught myself studying the edges of the frame, wondering what might appear next. That’s the film’s trick: tension from atmosphere and uncertainty rather than jump scares.

What Worked and What Didn’t

What worked: the atmosphere. Empty spaces, silence, and uncertainty do most of the heavy lifting, and it feels different from the usual horror formula. I left thinking about the world and its mystery, not just the scary moments.

What didn’t: the pacing, in places. A few stretches felt longer than the mystery needed. I also wanted more development for some characters, especially their motivations and how the strange environment affected them. Still, I wouldn’t want it turned into a conventional horror movie. Its unusual atmosphere is its identity.

Who Should Watch It (and Who Should Skip It)

Watch it if you like: psychological horror, found-footage filmmaking, and mysterious stories that leave room for interpretation.

Skip it if you want: constant action, fast pacing, or frequent jump scares. This one pulls you in slowly.

Box Office and Where to Watch

Backrooms opened in U.S. theaters on May 29, 2026, and it was a hit. It earned $81 million domestically in its opening weekend and $118 million worldwide. It crossed $100 million domestically in six days, becoming A24’s highest-grossing domestic release. Its final worldwide total was reported at $396.5 million. ‘Backrooms’ Movie Breaks Box Office Records for A24; Streaming Release Details +2

You no longer have to wait for it. The film is already streaming. It arrived on HBO Max in the United States on September 25, 2026, and debuted on the HBO channel on Saturday, September 26, at 8:00 PM ET. It is also on HBO Max in Spain. Before that, it was available to buy or rent digitally on Apple TV, Fandango at Home, and Prime Video. Availability varies by country, so check your local HBO Max or rental listings. Backrooms Streaming Release Date Officially Confirmed After $396M Box Office Smash +2

A separate cut, Backrooms: Everything Must Go Edition, played theaters in July. It was a one-week-only run with 15 extra minutes of theatrically exclusive post-credit bonus footage from Parsons. I couldn’t confirm whether that version is available to stream, so check the listing if you want it. icfilmscene

My Tips for Watching

1. Bigger is better, but home works too. The visuals, strange spaces, and sound design are a big part of what makes the film interesting. If you can still find a theater showing, the big screen is where it works best. At home, it suits viewers who like to take their time with a mystery.
2. Don’t try to decode every piece of lore. Go in with an open mind and let the film introduce its world naturally.
3. Watch the background. Pay attention to the lighting and the quiet moments between big events. The smallest visual details often build more dread than an obvious scare.
4. Bring curiosity, not a checklist. Expecting a conventional horror movie will work against you.

Final Verdict

Backrooms answers the question I came in with: yes, an internet horror concept built on short videos can work as a feature film. It does so by trusting its strengths: a restrained director, strong production design and sound, and two lead performances that give the emptiness something human to react to. It also leaves you with ideas about memory, reality, and identity instead of a checklist of scares.

It isn’t flawless. The pacing sags in places, and some characters never get the depth their situation deserves. But those flaws feel like the cost of a film that chose mood over formula, and I’d rather have that than a conventional horror movie. If you enjoy psychological horror and slow-burn mystery, it’s well worth your time, and it’s easy to watch now on HBO Max in the U.S. If you want fast pacing and constant jump scares, this isn’t the film for you.

My rating: [10/7.5]

Rating: 7.5/10

The Theranos story has been told many times, so I wasn’t sure what another take could add. What pulled me toward You Can See Everything was a combination of two things: Elizabeth Holmes herself, and Nathan Fielder’s involvement. Fielder is not a name you associate with the usual true-crime formula, and that alone made me curious about how this documentary would handle a story most of us already know.

First Impressions: A Documentary That Doesn’t Behave Like One

For the first ten minutes or so, I was still trying to work out what I was watching. The style felt different from a typical documentary, and I wasn’t sure which direction it was heading. That uncertainty turned out to be a good thing. Instead of settling into a familiar rhythm of talking heads and archive footage, the film made me pay attention and wait to see where it would go.

What Stayed With Me: Public Image vs. Private Life

The idea I kept coming back to after the film ended was the gap between someone’s public image and their private life. The moments that stuck with me most were the ordinary ones, where Holmes is simply having everyday conversations. Knowing her background, even those casual interactions felt unusual, and that tension is where the film is at its most interesting.

The filmmaking choices support this. The documentary doesn’t always tell you what to think. It lets you watch, then form your own opinion. That restraint made some moments far more memorable than a narrator explaining them ever could.

How It Compares to The Inventor and The Dropout

If you’ve seen The Inventor or The Dropout, you’ll notice a clear difference in focus. Those projects spend their time building the business story and examining the evidence behind the scandal. You Can See Everything is far less interested in explaining Theranos and far more interested in Holmes as a person.

I found that refreshing. Its observational approach, rather than a standard true-crime structure, makes an already familiar story feel new. That is its biggest strength. The trade-off is that viewers who want a detailed investigation may find it less satisfying, because this isn’t that kind of film.

Nathan Fielder’s Influence

Fielder’s involvement made a noticeable difference. His unconventional approach brings an uncomfortable but fascinating atmosphere to the film. His style works because it lets situations speak for themselves rather than pushing a particular opinion on the audience.

There were moments when his approach felt unusual, but I never felt it distracted from the main subject. If anything, it gave the film a distinct identity, which is hard to achieve when you’re covering a story this well-trodden.

Did It Change My View of Elizabeth Holmes?

Not completely, but it shifted my perspective. I already knew the Theranos scandal, so the most interesting part for me was seeing how she presents herself outside the usual media coverage. The film doesn’t overturn what you know. It adds a different angle on it.

Where It Falls Short

The pacing is the main weakness. A few scenes moved slower than necessary, and some of them could have been edited more tightly. It’s not enough to ruin the experience, but it is the reason the film doesn’t score higher from me.

Who Should Watch It (and Who Should Skip It)

Watch it if you:

• Enjoy documentaries about real-life scandals and controversial personalities
• Are interested in the psychology behind public image
• Already know the Theranos story and want a different perspective on Holmes

Skip it if you:

• Want a fast-paced investigation with lots of new revelations
• Prefer clear, guided storytelling over observational filmmaking

Its slower pace and unusual storytelling approach won’t appeal to everyone, and that’s worth knowing before you press play.

Final Verdict: 7.5/10

You Can See Everything earns its 7.5 through its filmmaking style, Nathan Fielder’s involvement, and an unusual level of personal access. It loses a few points because the pacing could have been tighter. Overall, it’s a distinctive documentary that offers something different from the usual corporate-scandal stories, and for viewers who are open to its approach, it’s well worth the time.

Have you seen it? Share your thoughts and your own rating in the comments below.