Based on the book by Freida McFadden, The Housemaid (2025) is directed by Paul Feig and written by Rebecca Sonnenshine. It stars Sydney Sweeney, Amanda Seyfried, Brandon Sklenar, Michelle Morrone, Indiana Elle, Elizabeth Perkins, Megan Ferguson, Sarah Cooper, Ellen Tamaki, Amanda Joy Erickson, Alaina Surgener, Don DiPetta, and Lamar Baucom-Slaughter. The film follows Millie Calloway (Sweeney), an unemployed woman who seemingly finds a fresh start when she lands a job as a live-in housemaid for the wealthy Winchester family. Although it starts out well, the job soon becomes a nightmare due to the emotionally unhinged behavior of the family matriarch, Nina Winchester (Seyfried). Her borderline abusive treatment of Millie soon alienates her seemingly perfect husband, Andrew (Sklenar). Seeking solace, Andrew and Millie eventually begin a secret romance that threatens to unravel both of their lives. Are the two secret lovers meant for one another, or is something much more sinister bubbling beneath the surface?

Despite this not changing my opinion of Sydney Sweeney’s acting abilities, she does feel appropriately cast as Mille. This is a case where the film’s overall quality enhances the impact of some of its lesser performances. In other words, it’s easy to ignore/forgive some so-so acting when the story is this engaging. 

The true standout performance-wise is easily Amanda Seyfried as Nina, the seemingly psychotic housewife. She’s believable when acting as both an employer and wife from Hell, but also subtly injects hints that her behavior may not be entirely what it seems. This nicely sets up the third act’s various twists and revelations without blatantly signaling them. Some of her choices are a bit far-fetched once you stop and think about them, but the authenticity of her emotions often outweighs the implausibility of her actions.

Brandon Sklenar is likewise great as Nina’s endlessly charming, suspiciously loyal dream husband, Andrew. By design, he’s a character who’s easy to love, but eventually betrays the viewer’s attachment once certain information is revealed. It’s admittedly fun to see the actor display his more sinister side, but his performance isn’t fully up to par. He never actually scared or threatened me as a viewer, so it’s clear that something is missing. He needed to take things a little further, but instead plays it safe. 

With Valentine’s Day right around the corner, this film is destined to be the year’s most popular date-night crowd pleaser. It’s a throwback to 90s erotic thrillers, but also explores modern themes of toxic relationships in a subtle but insightful way. In the past, Paul Feig was a director who struggled to incorporate themes that were anything other than painfully on the nose. Here, he finally seems to realize that telling an interesting, exciting story is the first step in priming the viewer to understand what the film means/is trying to say.

The film is most definitely what you’d call a “slow burn” thriller, but the intrigue is all well-paced despite sidestepping more traditional big moments. The female crowd will be much more pleased with this romance-centric buildup, but the male audience will appreciate its commitment to being a true thriller once everything is said and done. That being said, you’ll probably enjoy both elements as long as you’re not picky. They’re well-balanced, and the tones flow together seamlessly. Even the few moments of comedic relief work better than I was expecting. This could’ve easily fallen apart, but Paul Feig proves to be a director who’s only improved with each project. It’s kind of hard to believe he’s the guy who directed Ghostbusters (2016). 

Overall, this is a crowd-pleasing throwback 90s erotic thriller that balances its various tones surprisingly well. The cast is serviceable, the surprises are effective, and it’s well-paced despite saving most of its reveals for the final 20 minutes. The only issue I really have is that the final scene betrays the film’s tone to shamelessly set up a sequel. I wish it weren’t so frustrating, but I can’t forgive a classic thriller that, for some odd reason, wants to become a superhero franchise just as the credits are about to roll. Other than that, this should easily top the streaming charts this February. B