The art of deception, when mastered in cinema, can be breathtaking. But when it falters, it feels like a tedious exercise, a promise unfulfilled. “The Housemaid” unfortunately lands squarely in the latter category, a film built on secrets that ultimately feel hollow.
The story centers on Millie Calloway, a woman desperate for a fresh start, and Nina Winchester, a seemingly perfect homeowner. Their connection is forged in a web of lies from the very beginning. Millie, recently paroled and living out of her car, fabricates an impressive resume and even affects a visual impairment to secure a live-in housemaid position.
Nina, initially presented as a polished and organized mother, quickly reveals a chaotic undercurrent. The pristine image crumbles upon Millie’s arrival, exposing a home in disarray and a woman teetering on the edge of control. This initial contrast hints at a compelling dynamic, but the film struggles to capitalize on it.
Millie’s duties are mundane – cleaning, cooking, childcare – yet her living arrangements are anything but. She’s relegated to a claustrophobic attic room, locked from the outside, a detail Nina dismisses with a chillingly casual joke. This unsettling setup immediately raises red flags, suggesting a darkness lurking beneath the surface.
The arrival of Andrew, Nina’s handsome husband, adds another layer of complexity. He offers Millie kindness, a stark contrast to Nina’s growing suspicion and erratic behavior. Millie finds herself drawn to Andrew, and the film leans heavily into their burgeoning attraction.
What follows is a series of twists intended to upend expectations, but instead feels contrived. A heavy reliance on narration attempts to shock the audience, but the effect is more comical than suspenseful. The mounting tension feels manufactured, lacking the organic build-up needed to truly resonate.
Sydney Sweeney and Brandon Sklenar deliver performances focused primarily on physical allure, fulfilling the film’s apparent desire for on-screen chemistry. While they share a captivating presence, their characters lack substantial depth. Amanda Seyfried, however, fully commits to portraying Nina’s unraveling psyche, offering the film’s most compelling performance.
Director Paul Feig, known for his comedic work, seems to be exploring the thriller genre, following his 2018 film “A Simple Favor.” However, “The Housemaid” falls far short of its predecessor, lacking the intricate plotting and genuine wit that made “A Simple Favor” so enjoyable.
Adapted from Freida McFadden’s novel, the film feels akin to a campy television melodrama, eliciting unintended laughter rather than genuine thrills. Despite the best efforts of its talented cast, “The Housemaid” ultimately feels like a messy and unsatisfying experience.
The film’s attempts at suspense are undermined by its reliance on shock value and a convoluted plot. It’s a cinematic equivalent of taking out the garbage – a task best avoided. The film is rated R for strong/bloody violent content, sexual assault, sexual content, nudity and language and runs for 2 hours and 11 minutes.
