THE HOUSEMAID (2025)

December 18, 2025

Greetings again from the darkness. Director Paul Feig hit it big with the outrageous comedy BRIDESMAIDS in 2011, and then he got a lot more interesting as a filmmaker by directing screen adaptations of Darcey Bell novels that were so popular with Book Clubs – A SIMPLE FAVOR (2018) and ANOTHER SIMPLE FAVOR (2025). There’s no need to mess with a good thing, right? This time he’s directing another Book Club favorite, Frieda McFadden’s 2022 novel. Adapted for the screen by Rebecca Sonnenshine, the movie subjects three gorgeous actors to some off-the-chart twisted and devious turns.

Sydney Sweeney stars as Millie, a young parolee who we see arrive at a stunning mansion (fabricated resume in hand) to interview for a live-in housemaid position. Amanda Seyfried is Nina, the lady of the house, and she has prepared a lovely charcuterie board for the interview before taking Millie on a tour of the place … including the attic room where Millie will be living as she cleans the house, does some light cooking, and sometimes cares for ice-cold young daughter, Cece (Indiana Elle). Millie sleeps in her car until the phone rings with Nina’s job offer.

Now, Nina was the dreamboat perfect host and potential employer during the first meeting, but upon Millie’s arrival, her temperament has shifted – full bore psychotic mood shifts, replete with throwing dishes, screaming, and false accusations. Of course, Millie must take the abuse and uncertainty or face serving out the rest of her prison sentence – the details come out much later in the film. Still, Millie might just crack if not for the calm, supportive nature of Nina’s rich male model-type husband, Andrew (Brandon Sklenar, MIDWAY, 2019).

Common sense would tell you that the crazy wife vs the desperate housemaid would be enough for a wild story, but oh, how wrong you would be. Things only get crazier from here, and if we’ve learned one thing sitting through bizarre movies, it’s that the best way to execute a preposterous and outlandish story line is to play it (mostly) straight. And that’s what we get here. Of course, many of the twists and turns are easy to predict, but that doesn’t cut down on the demented fun – even though it jumps the shark a bit.

It’s a fun, wild ride – despite the gaps and the unfortunate lack of substance for supporting characters like Elizabeth Perkins as Andrew’s mother, and Michele Morrone as Enzo the groundskeeper. More from either character would have been welcome, although the real star here is Amanda Seyfried who shows incredible range, and never once backs away from the psycho side. I haven’t read the book, but for those who have, this film version is more spicy than erotic (save for one hotel scene), and it easily qualifies as a guilty pleasure – especially for those book clubs out there.

Opens in theaters beginning December 19, 2025

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ECHO VALLEY (2025)

June 13, 2025

Greetings again from the darkness. We should all be so fortunate to have a friend as loyal as Leslie, and we should strive to be wiser than Kate so that we don’t ever have the need to test that friend’s loyalty. Director Michael Pearce (ENCOUNTER, 2021) is working with a script from screenwriter Brad Ingelsby (the excellent “Mare of Easttown”, OUT OF THE FURNACE, 2018), and a superb cast to deliver a thriller that offers both familiar territory and twists and turns in a film that is ultimately relatively entertaining to watch.

The film opens with a stunning overhead shot of a lifeless body floating in the middle of a tree-lined lake. We don’t know who it is or the story of how it got there. Oscar winner Julianne Moore plays Kate, still in a grieving funk nine months after a tragic accident killed her wife Patty (Kristina Valada-Viars, “Chicago Med”), who is seen only in flashbacks and heard on saved voicemails. Kate manages to crawl from bed each morning and do just enough to keep her horses alive on the farm where her business is giving riding lessons. Since she’s cancelled most of those lessons, she must grovel to her ex-husband (Kyle MacLachlan) so she can fix the sagging roof on her barn. The two argue about money, her state of mind, and their daughter … whom dad describes as “sick”.

It doesn’t take long for us to understand how all the pieces of their argument fit together because daughter Claire (Sydney Sweeney, “The White Lotus”, “Euphoria”) shows up at the farm, and we learn that her mother Kate is the ultimate example of an enabler. Claire has a long-standing drug problem as well as the corresponding mental issues. She knows her mother can be manipulated into doing just about anything for her. It doesn’t take long for a couple of other players to enter. Ryan (Edmund Duncan) is Claire’s drug-addled boyfriend, and Jackie (the ubiquitous Domhnall Gleeson) is their compelling drug dealer … one who is out about ten grand due to the idiocy of Claire and Ryan.

Once the dynamics are in place, the twists and turns begin – none of which will be detailed here. You should know that it’s all pretty suspenseful provided you are able to overlook a bit of creative stretching from a storytelling perspective. Fiona Shaw plays Kate’s bestie Leslie (as mentioned in the opening paragraph), and what comes across clearly here is that this group of actors definitely elevate the material to the point where we actually care what happens to Kate, Claire, and Leslie. Ms. Moore excels in her grief, in her role as (overly) dedicated mother, and as a shrewd independent. Ms. Sweeney goes against her usual glam role and flashes some pretty impressive emotional range, while Mr. Gleeson nails the opportunistic drug dealer. It’s kind of hard not to notice that the males in the story are all various shades of scumbags, save for the detective near the end.

Cinematographer Benjamin Kracun (PROMISING YOUNG WOMAN, 2020) manages to capture both the beauty of the setting and the intensity and emotion of the personal interactions. Composer Jed Kurzel (SLOW WEST, 2015; THE BABDOOK, 2014) takes a unique approach to the score, preventing it from sounding like most suspense films. It seems probable that Mr. Ingelsby writing and Mr. Pearce’s directing would have been better served in a limited series … although this outstanding cast might not have happened. I found the film’s ending somewhat less than satisfying, yet overall the entertainment value was fine.

The film will premiere globally on AppleTV+ on June 13, 2025

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