The Housemaid – Review

Cert – 15, Run-time – 2 hours 11 minutes, Director – Paul Feig

Needing a job to meet parole requirements, Millie (Sydney Sweeney) becomes the housemaid for the Winchester family (Amanda Seyfried, Brandon Sklenar, Indiana Elle), whose erratic behaviour quickly raises tensions in the house.

Amanda Seyfried is currently in the awards conversation for her leading turn in The Testament Of Ann Lee. However, if she wins anything I’m going to pretend that it’s really a win for The Housemaid. Seyfried truly understands the levels of camp required for this latest thriller from director Paul Feig. Based on the novel of the same name, this is a more contained set of events than either of the Simple Favour films, barrelling along with a growing sense of fun with each sudden switch in character.

They arrive early as Sydney Sweeney’s Millie becomes the new housemaid for the Winchester family. Welcomed with open arms by Seyfried’s Nina the first proper day is jumpstarted when Nina starts to break the kitchen in frustration that her PTA speech has been either hidden or disposed of, either way blaming Millie. Her behaviour only grows more erratic as time goes on, with the future of Millie’s job uncertain – she knows she needs to keep it to meet the requirements for her continued parole, having spend the last ten years in prison for a crime that goes largely undiscussed. While seven-year-old daughter Cece (Indiana Elle) takes against Millie with many blunt interactions it’s husband Andrew (Brandon Sklenar) who keeps her in work. Looking out for Millie while he calms Nina down and sees through multiple outbursts.

Could more than a housemaid and employer bond be forming between Millie and Andrew? The answer very early on is yes, the film certainly doesn’t try to hide this fact although doesn’t make it an in-your-face focus. There’s a good deal more to get through before then. As twists and turns arrive and tension grows within the wealthy household there’s a great deal of fun to be had as even Feig seems to be finding a way to chew the scenery from behind the camera. Embracing the camp while still getting across a solid sense of drama to the thriller narrative. One that I found an unexpectedly good time in the company of.

The Housemaid is proof that marketing can be deceptive. I thought I knew what I would be getting going in, but found a much more enjoyable, and very likely rewatchable time. One that manages to sprinkle in a good few chuckles along the way – including in references to Barry Lyndon amongst the dark comedy. And while there are good performances to help things along none shine more than in Seyfried’s gleefully ramped up turn. Itself single-handedly boosting the entertainment factor and letting us know just what kind of film we’re in for from the opening scene where Nina sits down to interview Millie.

Once wincing at the bloodier elements of the films third act I knew, although even a good while before this, that I was truly in its grip. Not even minding the slightly overlong run-time as the entertainment continued to consistently flow with a darker thrill coming through. The Housemaid is a film that’s absolutely sure of itself, although perhaps not always intentionally, and is all the better for it. Taking you through the smirking events of a thriller that has just a bit more bite than it perhaps knows (and fortunately might also intend). I can’t wait to go on this fast-paced, entertainingly edgy, with plenty of unforced camp, ride again.

A wonderfully entertaining thrill ride with plenty of campness and the right level of edge, The Housemaid raises a good few chuckles amongst the fast-paced developments. Even if you can see them coming there’s still a dark glee to be had with this well-contained thriller.