The Housemaid runs for 131 minutes and carries an R‑rating because of strong, bloody violence, sexual assault, nudity, and coarse language. It opened in theaters on December 19.
I found myself picking up the most memorable line from “The Housemaid” even though it wasn’t spoken by any of the on‑screen characters. During a late‑night TV session, Sydney Sweeney’s new housekeeper, Millie, finds herself watching the boss’s hot husband. A woman in the audience shouted, “She’s spilling out of her shirt!” and the room exploded with laughter.
When Amanda Seyfried’s Nina walked back into the room, the lady of the house seemed to hear that outburst through the screen and, with a stern edge, chided the couple: “You need to dress appropriately from now on.” Good luck with that, if you’re still asking.
Every line in this glossy, low‑brow horror flick feels like an invitation for a shouted reply, a classic formulaic scream‑fest that is anything but subtle. It isn’t meant to be a deep, funny, or truly terrifying cult classic for college dorms, yet it’s never dull. “The Housemaid” is the kind of film that, when Hulu finally streams it, you’ll find yourself watching it while cleaning the living room or when you’re on the couch taking a break.
Paul Feig’s direction can feel too obvious at times, but that absurdity works at first. Imagine a rich kid—like a spoiled child—grumbling, “Juice is a privilege, not something you drink out of a dirty glass.” Or Nina’s carefully coiffed husband, Andrew, staring at Millie as if she were some sort of enchanted bunny. That goofy humor dies a little when the movie shifts toward its #MeToo stance, demanding a modicum of seriousness.
There’s gore, a series of dismemberments, and a Scooby‑Doo‑style mystery that’s revealed through flashbacks. It feels like a simplified take on “Gone Girl,” but that doesn’t diminish its psychological thriller label. Freida McFadden’s 2022 novel—and its film adaptation—are both called psychological thrillers, though the comparison is odd, almost like calling “The Very Hungry Caterpillar” a novella.
The main question driving the first half of the story is why a married woman would bring Sydney Sweeney’s character, Millie, into her home and then leave her alone with her husband. McFadden gives the answer: Millie is an ex‑convict who must find work to avoid serving five more years. She steals a pair of glasses, lies, and lands a job at the Long Island estate of a seemingly nice yet truly domineering woman, Naomi “Nina” who feels more like a modern Joan Crawford.
The film shows Nina’s explosive reaction when she loses PTA notes and unfairly blames Millie. She forces her employee to lock herself in a creepy attic, provides a phone, and then manipulates her into frightening encounters behind closed doors. The subplot reveals more about Nina’s own hidden motives. It’s a dual secret that is more complicated than Millie’s.
While Amanda Seyfried delivers a performance that makes her uncanny suburban mom feel like a possessed Elizabeth Holmes with a dangerous edge, Sydney Sweeney appears detached. She plays Millie as a tourist sun‑bathing on a beach, indifferent and untouchable, so her audience finds it hard to care.
As the tension rises, the plot takes a sharp twist midway through. A brief New York City encounter between Andrew and Millie misleads viewers into expecting something simple, but then the story uncovers bigger shocks. Suddenly each character—except the dull Millie—takes on new layers.
After the twist, however, the film begins to sputter. The gardener character is rendered as a “Desperate Housewives” Season 7 throw‑away, and the narrative starts to feel self‑justifying. An over‑reliance on a simplistic “blame the patriarchy” message and a half‑hearted attempt to be empowering feel clunky.
Overall, “The Housemaid” forgets to set its own boundaries; it skips the crucial moments, takes shortcuts, and, ultimately, ends up a movie that is easy to critique—whether you’re laughing, crying, or simply rolling your eyes.
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