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    Looking for sympathy amid craziness

    Houston rewards Charlie Sheen for a #winning performance

    Caroline Gallay
    Apr 27, 2011 | 8:53 am

    Charlie Sheen, Charlie Sheen . . . what to say about @CharlieSheen?

    Approaching this particular assignment (covering Sheen's Violent Torpedo of Truth tour spot in Houston), I thought my powers of observation would be more directed toward the crowd than toward Sheen himself. What kind of people actually purchase tickets to witness the ravings of an addict? Who in Houston is making a date night out of this sort of thing?

    Most importantly, after reading terrible reviews from other cities, I wondered what made for a #winning performance.

    Whatever went wrong in Detroit (where Sheen's tour opened and against whom he led a rousing chorus of "Fuck Detroit") there was no sign of it in Houston. The venue was, and stayed, full — and the heckling was, for better or worse, encouraging.

    For his part, Sheen successfully buttered up the crowd — a mixture of those, like myself, who attended for sheer spectacle and those who seemed to worship him as some kind of alt-hero — a crowd that, as a whole, already seemed, ahem, well-greased.

    Sheen took the stage at Verizon Wireless Theater in an Astros jersey, which he later threw into the crowd to reveal a University of Houston T-shirt — perhaps a souvenir from his visit to baseball practice the night before? He brought a player who had recently beaten leukemia onstage for a rousing round of applause, which only got louder when he asked the crowd if they had (and were willing to share) any of our own homegrown drug of choice — sizzurp.

    Alarmingly, the crowd also responded enthusiastically to Sheen's suggestion that running for President would be the "next logical step" in his meltdown (or, as he termed it, his comeback). And watching him interact with fans in an end-of-show question and answer session, fans that included a handsy 59-year-old who wanted to know how to keep her sex life goin', was arguably the night's highlight.

    But it's Comedy Central regular Jeff Ross, who shared the stage with Sheen for much of the evening, who gets the credit for making the night as painless, nay, enjoyable, as it was. Although his Katrina/Selena jokes were too soon (as we get the feeling they sort of always will be), Ross gave Sheen the roast he needed.

    Cracks included "if you're winning, this must not be a custody hearing," "Your liver must be smaller and blacker than Barry Bonds' nut sack," and "Charlie's looking for a blow job. Not oral sex, but a job that pays him in coke."

    Although the jabs were well-received and well-deserved, things took a turn for the serious at the close of the show when Sheen seemed to beg the crowd for sympathy in talking about losing his job and losing his kids. That particular bit fell flat with me because, as willing as Sheen is to laugh at himself, the state he's in isn't so funny when one considers his five kids and ongoing battle with sobriety.

    Sheen told the crowd that their favorite sitcom — Two and a Half Men, of course — was meant to be his swan song. He interpreted the widespread laughter as support, but it's tough to wonder, that late in the show, whether we have a hand in feeding into these delusions or whether, with or without us, he'd make himself a one-man shit-show.

    Click here to read about Charlie Sheen's evening with the UH baseball team.

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    Movie Review

    Anne Hathaway's busy 2026 continues with meta-thriller Verity

    Alex Bentley
    Oct 2, 2026 | 3:00 pm
    Anne Hathaway in Verity
    Photo by Alisha Wetherill
    Anne Hathaway in Verity.

    Anne Hathaway has been inescapable for movie fans in 2026, starring in no fewer than five different movies across multiple genres, including Mother Mary, The Devil Wears Prada 2, The Odyssey, and The End of Oak Street. The actor (who’s pregnant and about to take a well-earned break) is wrapping up her supremely busy year with the psychological thriller, Verity.

    Hathaway plays the title character, Verity Crawford, a hugely successful author who writes beach read thrillers, often from the perspective of the villain. An unpublicized car accident renders her immobile and mute, and her husband, Jeremy (Josh Hartnett), and agents make the decision to recruit someone to ghostwrite her next book in order to continue her legacy.

    The person hired for the job is Lowen Ashleigh (Dakota Johnson), an aspiring author whose books mostly get ignored. She’s eager to take on the project, but the reality of Verity’s situation throws her for a loop. When she discovers a secret file that seems to be Verity admitting to some very bad things, Lowen starts to spin even more, imagining situations that may not actually be happening.

    Directed by Michael Showalter and adapted by Nick Antosca from the book by Colleen Hoover, the film initially has a nice rhythm to it, setting up the three main characters well and building up tension. Though current day Verity can’t speak or move, the film gets to the heart of her through old interviews Lowen watches to get to know her mind better. Using that footage and other small moments at the house, a type of rivalry develops between the two characters.

    Strangely, though, Showalter and Antosca fail to capitalize on the early momentum. The story stagnates about halfway through the movie and never delivers on what it seems to be promising. Whether they’re too true to Hoover’s original story or change things too much is difficult to tell for those who haven’t read the book, but either way, the result is a big tease with not much in the way of a payoff.

    What’s most disappointing about the film is its inability to decide on a tone. There are some points where it feels like over-the-top, campy fun, and others where it seems like the filmmakers are going for a straight-up horror vibe. The down-the-middle approach that they land on serves neither the story nor the characters well. Moments that should be full of suspense or could get laughs often fall flat because of the indecisiveness of the filmmakers.

    Due to her character’s affliction, Hathaway is reduced to a supporting role in the film, but she gets by on presence alone and still has a few scenes where she demonstrates her star power. Johnson delivers a good performance despite her typical lack of emotion. Like many of her roles, it’s her body that seems to get more attention than her acting. Hartnett is on a roll thanks to recent roles in Oppenheimer and Trap, and he puts in solid work here, as well.

    Verity has the bones of a tense thriller, but it’s filled in with a bunch of questionable story beats that don’t prove as satisfying as the premise. The meta-plot of the authors of thrillers becoming involved in a thriller themselves should have been juicy and full of great twists, but ultimately it’s as catatonic as Verity herself.

    ---

    Verity is now playing in theaters.

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