The cinematic resurrection of another long-lost genre has arrived: the starry airport-thriller adaptation. The Housemaid mostly delivers the kind of throwaway entertainment you want, but doesn’t become quite as fun as it could be until its final act.
We meet Millie (Sydney Sweeney), a young woman living in her car, as she arrives at the grand home of Nina Winchester (Amanda Seyfried) to interview for a live-in housemaid position. After a picture-perfect tour of the pristine house by the model picture of wealthy civility that is Nina, Millie is offered the job, only to find, after moving in, that the house in an absolute tip and Nina has a propensity to fly into an accusatory rage. Enter Nina’s husband, Andrew (Brandon Sklenar), there to comfort Millie, with an increasingly close relationship forming between them. As Millie is played by Nina and trust is thrown out of the window, nothing is quite as it seems…
What follows is the kind of twisty, slightly silly, melodramatic thriller we’ve been missing at the cinema. The film keeps its characters slippery and its secrets close, allowing the big plot twist to come as a genuine surprise. However, whilst the intrigue in where the plot is going is definitely maintained, the film doesn’t quite manage to build tension in the way it should; it keeps you interested, but not entirely invested. Clues and red herrings are practically non-existent, not allowing the audience to find themselves pulled down different avenues or find the plot ramping up to a big reveal; instead, it moves along on a fairly even keel until the twist. It is in its final act that the film really hits its stride and brings the fun and laughter; the entire film could do with more of the campiness that lets loose towards the end, or at least a little more depth and colour to the proceedings.
Seyfried is the absolute standout of the show and really carries the bulk of the film, throwing herself in the role in a brilliantly judged performance that perfectly walks the line between being serious and over-the-top and really leans into the campiness that the rest of the film is lacking. She clearly relishes the part and brings great energy to the screen. Whilst Sweeney works with what she is given, our protagonist isn’t given a whole lot of personality – it only really comes out in the end. Whilst it could be argued that this is a deliberate choice due to the mystery in Millie’s background, we are privy to her private moments and, at times, her internal monologue (a device that could be used more), and are left wanting to know more about her to engage better with her character. Sklenar fills his role well and is able to flip between his different sides.
The film is well made but could do with being trimmed down to something that feels a little tighter or has a bit more momentum. I also took particular issue with some of the needle drops that felt so incredibly abrupt and jarring that they took me out of the film. Feig’s previous work in this kind of genre has had a bit more fun and bite to it that is missing here, but regardless, the film is certainly entertaining. For something so outlandish, it takes itself too seriously on the whole.
Overall, The Housemaid is a good time at the movies. Melodramatic and with a finale that drew audible reactions from my audience, it could do with a bit more of that zing throughout the first couple of acts, but is bound to satisfy audiences and I imagine will be an easy rewatch for many down the line.
