Sydney Sweeney and Amanda Seyfried elevate this otherwise overlong psychological thriller.
Alternatives to blockbuster fare are becoming less and less frequent in today’s ever-changing landscape of theatrical movies being released these days. Nowadays, studios typically avoid blockbuster release windows, waiting for the following week to claim the spotlight on social media. This shift is a far cry from previous decades, when a diverse slate of alternative programming helped the industry thrive. Today, strategies have adapted to new viewing habits. However, rather than dodging the behemoth that is Avatar: Fire and Ash, Lionsgate wisely positioned The Housemaid as direct counter-programming. Though the thriller itself is only passable, the star power of Sydney Sweeney and Amanda Seyfried transforms it into an enjoyable enough alternative for those seeking a break from heavy-hitting holiday spectacles.
Looking for a fresh start to escape a clouded past, a young woman (Sydney Sweeney) accepts a live-in housemaid position with a wealthy New York family. Her duties—cooking, cleaning, and childcare—seem straightforward enough, until the mother (Amanda Seyfried) begins experiencing a series of escalating episodes aimed at the new housemaid. As the tension rises, drawing the concern of both the new housemaid and the father (Brandon Sklenar), it becomes clear that these outbursts are far more than mere medical occurrences.
As expected from a psychological thriller, The Housemaid is packed with twists, but at two hours and 15 minutes, it overstays its welcome. A film of this nature thrives on a lean pace—ideally 100 minutes—yet more than a handful of scenes feel needlessly overextended. While I haven’t read the source material, it’s clear that some book elements simply don’t translate to the screen and could have been trimmed. That said, when the reveals finally arrive, they are genuinely fun and likely to elicit audible gasps. Director Paul Feig, a veteran at gauging audience reactions with hits like Bridesmaids, ensures these moments land with some sort of impact. It’s the kind of film that benefits immensely from a shared theatrical experience rather than streaming at home. The impact felt from these moments, though, would not land without the film’s two main leads.
Sydney Sweeney continues to prove she might be part of the next generation of Hollywood stars that the town desperately needs. Following her transformative turn in the boxing biopic Christy, her performance here as the titular housemaid may not be a career-best, but it is a savvy move. Taking on a mainstream thriller helps her ‘move the needle’ with general audiences. Opposite her, Amanda Seyfried delivers a solid performance that, when paired with her upcoming work in The Testament of Ann Lee, signals a well-deserved career resurgence. It’s a reminder that Seyfried remains a formidable talent when given the right material. Rounding out the trio is Brandon Sklenar; while his role as the father is somewhat standard, it serves as another steady foundation piece of an upward-trending career.
The Housemaid may not be an awards contender, and it’s likely to fade from memory shortly after seeing it, but it is exactly the kind of alternative programming theaters need to survive. It proves that if studios provide engaging genre films—even slightly bloated ones—audiences will show up, regardless of the release window. By challenging blockbusters head-on, these films create a healthier, more diverse box office ecosystem. Thankfully, Lionsgate’s latest offering tidies up the holiday slate, giving moviegoers a dark alternative to gobble up this holiday season.