Film Review – The Housemaid (2025)

      The Housemaid, 2025.

      Directed by Paul Feig.

      Featuring Sydney Sweeney, Amanda Seyfried, Brandon Sklenar, Michele Morrone, Ellen Tamaki, Megan Ferguson, Brian D. Cohen, Indiana Elle, Amanda Joy Erickson, Don DiPetta, Alexandra Seal, Sophia Bunnell, Lamar Baucom-Slaughter, and Arabella Olivia Clark.

      SYNOPSIS:

      A woman in financial distress is relieved to start anew as a housemaid for a wealthy couple.

      Regardless of whether one has read the newly released book by Freida McFadden, it's evident where director Paul Feig’s The Housemaid (adapted from Rebecca Sonnenshine’s screenplay) is leading. He is primarily recognized as a feminist filmmaker (which is not negative), and there are some predictable yet essential storytelling trends in modern narratives. This isn't a flaw here; however, it is quite frustrating how long the film maintains a façade before reaching a pivotal moment. While it includes several clever hints and a welcome commentary on class issues, along with themes of gossip and its credibility, the narrative's first half could have been shorter, as it drags on for nearly an hour with ineffective misdirections.

      The second half of The Housemaid, which discloses the story behind the obvious and fully embraces its sensational aspects combined with genuinely sinister actions, only amplifies the earlier shortcomings. Once the specific reasons for the unfolding events are revealed, the audience is left with gripping suspense that could shift towards an optimistic or tragic ending. For some reason, the lead-up to this turning point can be tedious—only buoyed by its trio of impressive performances that lean into the campiness—suggesting that its audience lacks familiarity with trashy airport novels or thrillers.

      Although some aspects are predictable, there’s still a reluctance to delve deeply into the plot. Nevertheless, it revolves around Sydney Sweeney’s character Millie, a woman on parole for an undisclosed offense, who is desperately looking for work to remain free, even if it requires telling small lies in hopes of securing a live-in housemaid position. Her meeting with Amanda Seyfried’s Nina goes as positively as she could anticipate, yet she fears that her résumé will be scrutinized for inaccuracies, jeopardizing her employment chances.

      It is evident that Millie secures the job and starts working for Nina, being assigned an attic bedroom (which suspiciously has a deadbolt and a window that no longer functions), and tasked with standard household chores like cleaning, cooking, and caring for the impolite young daughter, Cecelia (Indiana Elle), who has become overly comfortable in her privileged existence. As the story unfolds, it becomes apparent that Nina has experienced some traumatic events and exhibits signs of schizophrenia shortly after hiring Millie, frequently reprimanding her for actions that were explicitly requested while arguing that they were not.

      Fortunately, Nina’s husband Andrew (Brandon Sklenar, following a charm similar to Glen Powell but exhibiting complexities that the latter might struggle with) witnesses much of the outbursts and unprovoked mistreatment towards Millie, providing some support and a semblance of stability. Unsurprisingly, Millie continues to seek employment elsewhere to escape her situation.

      As noted, Millie is portrayed by Sydney Sweeney. Thus, it seems logical that Nina, already descending into paranoia, would caution her against making any advances towards Andrew. However, this point is where the film begins to lose its logical consistency, as no rational individual would hire a woman for such a role if there were concerns about insecurity or infidelity, especially given the numerous red flags flagged by the resume’s background check. Nina’s behavior is so unpredictable and hostile that one is left to question why Andrew remains calm and forgiving of her behavior despite its severity.

      There are numerous character dynamics at play that don't quite add up, which serves the story given the known ulterior motives. Enduring such irrational behavior for about an hour, while already aware of the overall direction, can be quite frustrating. The audience is left in a state of knowing while feeling irritated, eagerly anticipating the introduction of the specifics and a shift in genre for too long. Eventually, The Housemaid begins to align with what it should have done earlier, transforming into a thrilling experience. The film does genuinely excel once the narrative elements fall into place.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder