“What kind of monsters are we?”
Slick, sexy, and unapologetically fun, Paul Feig's The Housemaid is equal parts amusing and menacing. An all-around beautiful adaptation of Freida McFadden's bestselling novel, the film is a stylistic throwback, giving viewers a jolt of adrenaline as it twists and turns toward an intense, bloody showdown.
Sydney Sweeney stars as Millie, a down-and-out young woman, fresh out of prison, in desperate need of a job. It is her perspective we keep for much of the film as she introduces us to the situation, providing voiceover as we meet Nina (Amanda Seyfried), a high-brow wife who, with the perfect house, is looking for a new housemaid.
The opening sequence is simple as Nina provides a tour of her family's immaculate home. Pristine from floor to ceiling, the estate screams Stepford, creating an eerie feeling that is personified when Millie is escorted up a tight stairwell to the converted attic. In complete contrast to the house below, the single room meant for the help staff is small and bland.
Feig, fresh off the success of Another Simple Favor, attempts to recapture the energy here with stellar performances from both Sweeney and Seyfried and a transporting journey to the outskirts of New York City, where the rich live in a society all their own.
But everything isn't as presented. I mean, that is the only way these movies work. Oh, and you have to throw common sense to the wind. You mustn't get caught up in the details.
After landing the coveted position, Millie returns to discover a transformed home. Dishes, once perfectly placed in the cupboard, now sit scattered across every surface, caked with food and trash as Nina wails in the background. It's a fierce introduction to the job. One that Millie desperately needs to keep.
Perfectly paced from start to finish, we then go on a turbulent ride as Millie navigates the toxic world that Nina has created within the walls of her home. But amid the chaos is a resounding neutralizer in Nina's husband, Andrew, played by Brandon Sklenar. A proven calming force, he helps to diminish the turmoil, bringing a sense of structure to the disarray.
As Feig and company work to set up a wild and cutting third act, the film never abandons its expected route. Embracing the likes of Fatal Attraction, The Hand That Rocks the Cradle, Obsession, and Gone Girl, The Housemaidknows and understands its large-scale purpose. Its sexual lure is gripping as viewers down the proverbial shot, savoring the powerful connection between our leads. And when Millie accepts an invite and ventures beyond the line of possible return, we cringe at the ripple effects her actions are sure to have on both women in this otherwise quiet suburban town.
While many films lose their identity in their twisty conclusions, The Housemaid thrives. Fully aware of itself, the film delves into the wit and humor, ultimately giving audiences a truly remarkable build-up that has you questioning whether to laugh or scream as the lives of both women hang in the balance. And that's the true beauty. Even with the outlandish behavior, Feig ensures that we never lose sight of the characters.
While we quickly learn to question everything we see, the interlaced storytelling proves the perfect homage to past films that set the benchmark for stylistically provocative thrillers that, albeit bearing a rather forthcoming message, refuse to take themselves too seriously. In a world obsessed with nostalgia, The Housemaid is a bonafide winner!
