La femme de ménage

Homeless, jobless and just released from a ten year prison sentence for manslaughter Millie (Sydney Sweeney) accepts an unexpected position as a housemaid in the wealthy Winchester household in Nassau, Long Island. The behaviour of mother of one Nina (Amanda Seyfried) then becomes increasingly erratic and abusive towards Millie at the same time as a relationship starts to develop between Millie and Nina's husband Andrew (Brandon Sklenar). Desperate not to lose her job, which carries the risk of a return to gaol, Millie is taken on a terrifying psychological rollercoaster ride in which seemingly nothing is as it first appears. Filmed in New Jersey this 2025 feature film is a psychological mystery thriller based on the novel by Freida McFadden (as adapted for the screen by the hilariously named Rebecca Sonnenshine), and directed by Paul Feig, having the same kind of twisting and turning plot as Feig's impressive 'A Simple Favour'. Visceral, contrived, at times unconvincing, more than a touch operatic, tinged with occasional humour, and extremely manipulative as a story (one of the film's main themes of course is manipulation) the film deals with a number of themes and issues including gender, class, silent hidden victims (whether through exploitation in employment or domestic partner abuse), and the socially damaging effects of the so called 'justice system' (stigma, discrimination, amongst other things) and mental health system (the common problem of misdiagnosis - and worse - by doctors). And like any good thriller of this sort it saves one of it's twists til the end, involving Andrew's mum Evelyn (Elizabeth Perkins).

6.9/10 (7) (Definitely Recommend)

I went into this movie with very little expectations, or even understanding of what I was getting myself into. Some people may know what to expect, and others may not. I aim to write this review trying to keep the mystery. After having seen only the same trailer a bunch of times, I already had a bunch of preconceived notions of what was going to happen, but damn, they were off.

Amanda Seyfried's character was nowhere near where I believed her to be according to the trailer. Amanda is fantastic in the role, and became likeable for me by the end. Sydney Sweeney was once again a little rough/rigid around the edges. However, her acting style fit this character. I was surprised by her characters progression throughout the story. From the trailer alone, I didn't know almost anything about Brandon Sklenar's character, but by the end you knew exactly who he was and why things aren't always as they appear.

The story was interesting for me. I only found out after the movie that this is a book adaptation, so people like her and her book club knew somewhat of what to expect. Me personally, again, because I didn't know what to expect, was almost bored out of my mind for the first two acts of the film. I honestly thought, and told my sister and her friends, that I believed that this was just another film for Sydney Sweeney to show off her body. While that may have very well been part of the case, by the third act it wasn't the only case. Everything about the movie got more exciting and interesting. I actually became more invested when the onion was being peeled back.

Overall, I would probably see this movie again. The story is better than just some housemaid being put through the wringer. The actin isn't out of this world, but it gets the job done with its tension and release. I think the less you know the better going in, as it certainly helped me enjoy myself. My sister did say the movie differed in some ways compared to the book so even her and her friends were a little taken aback by some of the changes. So if you're looking for a film to watch during the Christmas break, then this is one to certainly check out.

That's it for now. Thanks for taking time to read my review. Happy watching and enjoy the show!

PS Warning: if you, or someone you know, has been affected or suffered abuse in the past, this film may not be suitable for you. There are some scenes viewers may find graphic when it comes to abuse.

The Housemaid arrives with a curious mix of expectations and skepticism. Sydney Sweeney's recent box office outings haven't exactly set the world on fire, and opening opposite the latest Avatar installment doesn't do the film any favors commercially. Going in, expectations are understandably tempered. But surprisingly, The Housemaid doesn't take long to find its footing and when it does, it leans hard into its psychological thrills.

The real engine of the film is Amanda Seyfried, who delivers a chillingly unhinged performance as Nina Winchester, a wealthy housewife whose polished exterior begins to fracture almost immediately. Seyfried plays Nina with a simmering instability... her smiles linger too long, her outbursts hit without warning, and her behavior steadily escalates from eccentric to outright disturbing. It's one of those performances where you're constantly bracing for the next emotional whiplash.

Sydney Sweeney stars as Millie Calloway, a young woman with a troubled past who takes a live-in housekeeping job out of sheer necessity. Millie is observant, cautious, and quietly unsettled by Nina's erratic behavior, but her fragile position in life makes walking away impossible. Sweeney's performance is restrained, sometimes almost too much so, but that muted quality works early on as Millie tries to survive rather than confront what's happening around her.

As expected, Andrew Winchester (Brandon Sklenar) enters the equation, and the film follows a familiar erotic-thriller path: lingering looks, late-night drinks, and one bad decision that sends Nina spiraling. At this point, The Housemaid feels like it's heading toward a predictable third-act meltdown.

That's where the film earns its credit.

Instead of saving its biggest twist for the finale, The Housemaid flips the script near the end of the second act, shifting the narrative focus squarely onto Millie. From that moment on, the film becomes something darker and far more interesting. The power dynamics change, motivations are recontextualized, and Millie's character steps fully into the spotlight.

While this isn't Sydney Sweeney's strongest individual performance, her chemistry with Brandon Sklenar is what ultimately elevates the film. Together, they give the latter half of The Housemaid a sharper edge, grounding the psychological turns in something more emotionally believable. Their scenes add tension without relying solely on shock value, allowing the story's darker implications to breathe.

Director Paul Feig, stepping away from comedy, handles the genre shift with confidence. The film is sleek, intimate, and deliberately uncomfortable, leaning into paranoia and emotional manipulation rather than outright violence. It may not reinvent the erotic thriller, but it understands the genre well enough to play with audience expectations.

The Housemaid isn't flawless, and it won't silence every criticism aimed at Sweeney's recent career trajectory. But thanks to Amanda Seyfried's standout performance and a well-timed narrative twist, it's far more compelling than it initially appears.

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.

I went into this film not having read the book beforehand, so I went into it without knowing all the twists and turns. And from perspective I can say that it is a really good thriller with well executed twists and reveals The psychological aspects of the film is also really well done at making mentally tense moments carry out to the audience, making the audience experience the uncomfortable feeling of being gaslit and manipulated.

The main cast also delivers really solid performances. Amanda Seyfried and Sydney Sweeney have excellent chemistry on screen and they both play really well against each other.

My only problem with the film is Michele Morrone's character, who simply did not work for me. He felt out of place, didn't do much, and it wasn't really clear of why he was there how his character came into the picture of the plot.

But all in all this is a great film for people who like a good, well executed thriller.