From Paul Feig, the man responsible for the all-female Ghostbusters, The Housemaid stars Sydney Sweeney as Millie—a young woman desperate for a fresh start after a rocky past—who lands a live-in gig cleaning for the seemingly perfect Winchester family, headed by the elegant but erratic Nina (Amanda Seyfried) and her charming husband Andrew. What begins as a lifeline quickly spirals into a web of hidden secrets, mind games, and dangerous revelations that make Millie’s own history look tame by comparison.

The Housemaid Review

Neither a believably unhinged performance from Amanda Seyfeid nor Brandon Sklenar’s wasted intensity comes anywhere close to being enough to save this trainwreck from director Paul Feig’s (lady Ghostbusters) ineptitude or the crayon scribblings of its writer, Rebecca Sonnenshine (The Vampire Diaries).

Cringe dialogue, repetitive “thrills,” and some profoundly retarded logic plague every inch of The Housemaid’s screenplay. Moved along by single-digit IQ contrivances, it’s possible that the film could have survived on Seyfeid’s character’s cruel and chaotic mind games. However, repeated trips to the same narrative well eat up most of the runtime, leaving too little of it to unravel the half-cooked, mysterious goings-on naturally. So, Feig and crew lazily opt for a hasty tonal and structural shift to that of poorly written narration and clunky flashbacks that quickly barf up the mystery’s secrets like they’re Ariana Grande’s dinner.

Had the film ever managed to generate any momentum, this 90mph 90° turn would have wrecked it. However, Sydney Sweeney’s rising star casts its dark, if shapely, shadow over the production from the moment she opens her full lips to airily huff out her first (but certainly not last) clipped line. There’s no neckline low enough to distract from the blond bombshell’s weightless performance.

The core principle of Stanislavski’s renowned acting method, often summarized as “emotional truth,” urges performers to move beyond indicating emotion and instead genuinely experience it. Legendary actors like Daniel Day-Lewis and Dustin Hoffman are famous adherents to this approach. While each seems likely to be unpleasant company over a beer, it’s hard to deny the rigor and authenticity of their performances. In short, Stanislavski aimed to help actors achieve a level of authenticity on stage in which dialogue arises from real inner impulses rather than conscious performance. Sweeney might want to read a book about it.

Go back and watch any of the trailers and you’ll notice that the American Eagle spokesmodel is rarely asked to deliver more than monosyllabic responses—and that’s no accident. Sweeney’s performance is vacuous and emotionally unmoored from the material’s already threadbare dialogue. She rarely enunciates clearly, instead swallowing the ends of words and letting them dissipate into a hollow, breathy quality that’s a poor substitute for conviction.

Not even the visuals—and there are some titillating ones—can salvage this dismal waste of time. Feig’s incoherent storytelling pulverizes any thematic or psychological tension that might have survived Sweeney’s impotence, reducing the film to a slack pile of shrieks, contrivances, and half-formed ideas. What remains is not provocation or suspense but exhaustion: a movie that flails from beat to beat with no governing intelligence, no emotional gravity, and no sense of why any of it should matter. The Housemaid never collapses because it never finishes assembling itself, mistaking noise, repetition, and cruelty for drama.

WOKE REPORT

Boy’s Club

• You could argue that
  Spoiler

  between a quick scene of a boardroom filled with men who laugh at a lactating mother and the fact that the twist ends up being that a controlling white man is an abusive psychopath, is woke,
  but there was nothing in this hackneyed film written well enough to suggest an ideological perspective or agenda clearly. I suppose you could say
  Spoiler

  since they treat Amanda Seyfried’s abused character as a sympathetic one despite her evil actions
  that the film is at least woke-adjacent. It almost certainly was written by a pair of talentless numbnuts who wished to express radical progressive victimhood, but they weren’t up to the task, and we instead get a nothing burger.
  • Don’t get me wrong, I still dinged it pretty hard for its obvious desire to be the horror/thriller Handmaid’s Tale, but not even remotely close to what  I would have had Feig and crew been just 10% more talented.