The Housemaid: Chaotic & Thrilling Lunacy (Early Review)

Paul Feig’s The Housemaid serves as a consequential transition – a connective passage – between the trajectories of notable trailblazers. The undertaking of this psychological thriller, based on Freida McFadden’s novel of the same name, is a distinct contrast to Feig’s filmmaking phases consisting of Melissa McCarthy-driven comedies and post-COVID streaming films. This film marks his first theatrically released effort since 2019’s ‘Last Christmas‘. Approaching the end of 2025, The Housemaid also functions as a peculiar pit-stop in a bustling period for both leading actresses – with Sydney Sweeney rounding out a whopping total of five theatrically-released films this year and Amanda Seyfried, actively on the campaign trail for her critically acclaimed performance in Mona Fastvold’s The Testament of Ann Lee. Despite a stacked December line-up and a preoccupied focus on awards season, Feig’s willingness to explore a different genre provides optimism amongst the predictably frustrating trend of thriller novel clichés rolled into lackluster adaptations.

While doubtful of whether the film’s inclination to include these frustrations, regardless of whether they are intentional or not, the immediate whiplash between Hallmark wholesomeness and Lifetime thrills is baffling and apparent, elevated by Seyfried’s kinetic chaos comparable to her performance as Ann Lee. When Millie Calloway (Sweeney) applies for a housemaid position in a wealthy family, her true intentions are immediately unraveled – refreshingly alleviating the clichéd mysteriousness behind a conspicuously convenient and conventional candidate. Instead, Feig focuses on the morbidly humorous and dysfunctional rich family, including emotionally unpredictable wife Nina (Seyfried) and questionably understanding husband Andrew Winchester (Brandon Sklenar). Behind every apprehensive form of retaliation towards an oblivious Millie is a consistently empathetic Andrew who will strive not to defend his wife Nina’s turbulent behavior – pushing him closer to Millie and raising this steamy tension.

Beyond teasing audiences with this sizzling love triangle, The Housemaid extends past this confounding and chaotic expectedness to present a disorderly third act filled with prolonged narration, underdeveloped supporting characters, and rapidly stitched exposition that breaks the pace of the film. Feig persists through the jumbled script by leaning into the bewildering chaos through John Schwartzman’s cheeky cinematography, Elizabeth Jones’ elegant production design, and Theodore Shapiro’s playful score. Certainly consisting of material prime for an adaptation of such a massive New York Times bestselling novel, screenwriter Rebecca Sonnenshine’s attempt at adapting The Housemaid results in a rudimentary mixing of thriller clichés that Feig seems more eager to prop up as engaging and darkly funny lunacy instead of taking itself too seriously. 

Topping off an eventful year of polarized reception, Sweeney admirably fits the frustrating chaos – being the grounded, sensible focus behind this dysfunctional family with ulterior motives. Rapidly adjusting to the wild circumstances at every turn, Sweeney’s Millie becomes a relatable focal point for an audience trying to make sense of what is happening. Heightening the macabrely humorous turn of events is Sweeney’s dumbfounded reactions to the ridiculous twists that linger around every corner. For those who haven’t already figured out that something is wrong with the Winchesters, every stranger that Millie converses with along the way makes it abundantly clear in all their brutal honesty.

Overall, Paul Feig’s The Housemaid is a chaotic, frustrating adaptation – reducing a dynamic thriller into a whiplash of clichés. He salvages a rudimentary script by honing in on his cheeky technical style, elevated by Sweeney’s grounded relatability and Seyfried’s kinetic insanity. Complementing a month featuring such releases as Avatar: Fire and Ash, The SpongeBob Movie: Search for Squarepants, Five Night At Freddy’s 2, and Anaconda  – along with the highly anticipated Marty Supreme – The Housemaid is a baffling thriller that still provides engaging fun in spite of its flaws.

still courtesy of Lionsgate/Cineplex Pictures

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Costa Christoulas

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