‘The Housemaid’ is Twisty, Trashy Fun Adaptation of Popular Page-Turner

‘The Housemaid’ is Twisty, Trashy Fun Adaptation of Popular Page-Turner

.By Lynn Venhaus

Good trashy fun, “The Housemaid” is a psychological domestic thriller with a dash of dark comedy that is ideal alternative programming this holiday season when all the prestige awards-hopefuls are released.

Millie (Sydney Sweeney), a plucky young woman with a secret criminal past, takes a live-in job as a housekeeper for the wealthy Winchester family – high-maintenance wife Nina (Amanda Seyfried) and handsome husband Andrew (Brandon Sklenar). While they look perfect, her new employers have secrets of their own.

None of the three stars – currently having moments – will be on year-end awards shortlists for their performances, yet they lean in and act with an intensity that merits them serious kudos for their earnest approach to over-the-top melodrama.

Let the mind games begin! As Nina, the suburban princess living luxuriously, Seyfried can fly into Defcon 5 rage with a frightening ferocity and assuredly drives this effort.

Knowing what’s at stake is her forte here. To watch her alternate wild histrionics with an icy-cold façade as a Real Housewife archetype is amusing.

Sweeney’s star has risen ever since “Euphoria” shook up streaming and may tie with Josh O’Connor for having the most movies released this year, even besting Pedro Pascal. She plays forlorn Millie just-right with a shaggy poor-girl-trying-to-please demeanor and a palpable desperation to escape her past.

Sklenar, who was swoon-worthy as the rugged hero Spencer Dutton in Taylor Sheridan’s “Yellowstone” prequel “1923,” is in yet another handsome, chiseled guy role. This time, he’s Andrew, a gracious, well-mannered scion of an influential family, flashing his pearly whites often.

It’s a perfect threesome for this type of suburbanites’ unraveling story. For fans of the popular 2022 page-turner by Freida McFadden, you know the delectable unpredictable twists. But for those of us in the dark, the reveals are a surprise – and boost the audience-participation feel of the film.

Smartly directed by Paul Feig, whose comedy pedigree is stellar (“Freaks and Geeks,” “Bridesmaids,” and episodes of “The Office”) and his thriller portfolio is gaining traction after “A Simple Favor,” he is one step ahead of us as we uninitiated try to figure out where these deceptions are leading.

He also strikes the right engrossing tone, mixing suspense, shock and silliness to guarantee gasps and build momentum. The screenplay by Rebecca Sonnenshine, a two-time Emmy nominee as a writer on “The Boys,” draws us into the chills by smoothly weaving backstories in, adding gaslighting and tension in the home.

Elizabeth Jones’ lavish production design is Martha Stewart-worthy in a sprawling, airy McMansion in Great Neck, N.Y. As the live-in housekeeper, Millie’s bedroom is a cozy A-frame attic nook that has a door that locks from the outside.

In shades of Stepford wives, supporting players are stereotypical privileged upper-class women who are condescending of others not in their same social register – and even if they are, finding ways to be critical. Millie overhears the local elitist moms gossiping about Nina, which is unexpected, as are other remarks by ‘the help’ in the community.

Those are interesting nuggets that illuminate what’s happening – or not – but it keeps us guessing as the plot thickens. The dialogue is often cheesy, but that’s part of the fun, too. This material is far from Tolstoy or Chekhov – it’s “Dynasty” glammed up for the 21st century.

It’s best to know as little as possible going into the movie, so no spoilers here.

Elizabeth Perkins has a few defining moments as Andrew’s snobby mother Evelyn Winchester, dismissive of her daughter-in-law and demanding in snide ways. After all, she’s more concerned with appearances than anything else.

Young actress Indiana Elle is the Winchester’s snotty, indulged daughter Cecelia “CeCe,” whose sense of entitlement shows signs of creating a monster, but whose actions later indicate she’s been paying attention. It would have been nice to have more character development in that regard.

Michele Morrone, who played Emily’s fiancé Dante in Feig’s “Another Simple Favor,” is well-cast as mysterious handyman Enzo, but sadly, it’s an underdeveloped character.

“The Housemaid” is nothing more than a pulpy “popcorn” thriller, well-suited as escapist fare, especially during a dreary winter and in a disconcerting world. It’s a film that knows exactly what its mission is, and how it fits into the entertainment landscape.

“The Housemaid” is a 2025 psychological thriller directed by Paul Feig and starring Amanda Seyfried, Sydney Sweeney, Brandon Sklenar, Elizabeth Perkins, Michele Morrone and Indiana Elle, Its runtime is 2 hours, 11 minutes, and it’s rated R for strong/bloody violent content, sexual assault, sexual content, nudity and language. It opens in theaters Dec. 19. Lynn’s Grade: B.

Contrived ‘It Ends With Us’ Fails to Connect In Any Meaningful Way

Contrived ‘It Ends With Us’ Fails to Connect In Any Meaningful Way

By Lynn Venhaus
An important message about domestic violence in “It Ends with Us” is diluted by the film adaptation’s shallow, superficial trappings that favor a glossy lifestyle magazine approach to a serious issue.

Based on Colleen Hoover’s 2016 bestselling romance novel, this is the story of Lily Bloom (Blake Lively) who opens her dream floral shop in Boston. She marries the brother of her best friend Allysa (Jenny Slate), a handsome neurosurgeon Ryle Kincaid (Justin Baldoni, who also directed).

But she is reminded of her father’s abusive treatment of her mother when her controlling husband’s jealousy escalates. She becomes a victim herself once her first love, Atlas Corrigan (Brandon Sklenar), reappears. She has tough decisions to make about her future.

Hoover’s bestselling novel has been faithfully adapted by screenwriter Christy Hall, according to people who’ve read the novel (a book club favorite), but the contrived cookie-cutter romance lacks any whiff of authenticity. Oh, the movie characters have been aged as compared to the book — Lily was 23 and Ryle 30, and the actors are 35 and 39 in real life.

The illogical soap opera unfolds with flashbacks to Lily’s childhood, where she befriends Atlas, a fellow high school student down on his luck. Their younger selves are convincingly portrayed by Alex Neustaedter, who was in the Jeff Daniels’ series “American Rust,” and a striking naturalistic Isabela Ferrer.

Despite gauzy impressionistic snapshots, they swiftly establish a believable connection that continues in the adult portrayals of Lily by Blake Lively and Atlas by Brandon Sklenar. Their genuineness sharply contrasts with the adult Lily-Ryle relationship that feels too forced, straining credibility.

While limited in their acting ranges, Lively and Baldoni are very attractive people, but the film’s poor editing choices rely too much on repetitive close-ups. Their rapid courtship, which shouldn’t involve this much eye-rolling, mostly focuses on their mannequin physiques.

When that pairing quickly erodes once they marry, the obvious red flags make any feelings seem manufactured between the supermodel-looking couple.

 Baldoni, who also directed, played Rafael for five seasons on the TV series “Jane the Virgin,” and directed the high-concept romantic drama “Five Feet Apart” in 2019.

Without spoiling character development, his inability to emote other than steamy kissy-face scenes result in improbable actions and silly scenarios as the hotshot doctor. The shot selection opts for a designer cologne commercial look, which makes it difficult to relate to the main characters in any sincere way.

When the choppy, clumsy storytelling finally zeroes in on the truth-revealing conflicts, the reliance on quick-cut violent outbursts lessens the impact of what they are trying to achieve.

Because physical abuse is mostly implied than pictured (except for one harrowing but badly executed and confusing scene), Lively’s minimal facial injuries are easily covered up by make-up. 

By barely resembling honest situations, the film drops the ball on what should have been motivating advocacy.

Quirky Jenny Slate is appealing as offbeat Allysa, who starts as Lily’s employee but becomes her best friend and trusted advisor. She seems to be tasked with the heavy lifting. Her character’s devoted husband Marshall is humorously played by Hasan Minhaj of “The Daily Show,” but he’s primarily a vehicle for comic relief.

The flimsy character development is a hindrance for Sklenar as Atlas, who now, after serving eight years in the Marines, is a renowned chef with his own hit farm-to-table restaurant, Root. It’s the hotspot in Boston, which drives Ryle over the edge.

Pegged to be the knight in shining armor, Sklenar, who played Spencer Dutton in the “Yellowstone” prequel “1923,” is reduced to long, loving, piercing gazes at Lively. And he’s used awkwardly.

The revered character actress Amy Morton’s lack of identity regarding Lily’s mom Jenny wastes her talent and whatever meaningful voice the character could have contributed as a victim who chose to stay.

Costume Designer Eric Daman, who worked with Lively on TV’s “Gossip Girl,” has chosen puzzling lumberjack-style outfits that seem odd choices for Lively, although he occasionally pulls out all the stops for dazzling party attire and stylish shoes (that seem very out of budget for the fledgling florist, but he did work on “Sex and the City” and we know how reckless Carrie was with the money spent on designer shoes). The baggy ensembles look odd when Lively walks down busy streets.

“It Ends with Us” could have shed more light on signs of domestic abuse, behavioral patterns to recognize, and ways to get help, other than a mere tagline in the credits while some overwrought pop song plays.

That was a missed opportunity, in favor of a Lifetime-quality movie with shiny pretty people making its only point that affluent, well-educated adults can hide destructive secrets.

One line delivered feebly: “I can get help” isn’t followed with any action, so any serious intentions to raise awareness are abandoned, which is unfortunate.

With its triggering scenes treated so cavalierly, the effort’s inept approach diminishes its effectiveness, and turns out to be an exasperating waste of time.

“It Ends With Us” is a 2024 romantic drama directed by Justin Baldoni and starring Baldoni, Blake Lively, Brandon Sklenar, Jenny Slate, Isabela Ferrer, Amy Morton, Alex Neustaedter and Hasan Minhaj. The film is rated PG-13 for domestic violence, sexual content and some strong language,.and the runtime is 2 hours, 10 minutes. The film opened in theatres on Aug. 9. Lynn’s Grade: D+.