Here’s the harsh truth: The Housemaid is a film that feels like it’s been done before—and done better. But here’s where it gets controversial: while it’s predictable, padded, and struggles to find its footing as a thriller, horror, or romance, Sydney Sweeney’s star power might just be enough to keep her fans entertained. So, is it worth the watch, or is it a missed opportunity? Let’s dive in.
The plot is as familiar as it gets: a young, attractive ex-con (played by Sweeney) lands a job as a housemaid in a lavish mansion, only to find herself entangled in a web of psychopathic employers, creepy children, and a dangerously charming husband. Sound like a recipe for suspense? In theory, yes. In execution, not so much. The twists are telegraphed from the start, and the film spends far too long taking itself seriously before finally leaning into its own absurdity. And this is the part most people miss: it’s not until the final act that The Housemaid embraces its campy, over-the-top nature, leaving you wondering if the first hour and a half was just a very long setup for a punchline.
Let’s talk about the characters—or rather, their questionable decisions. There’s an unspoken rule in screenwriting that characters must make somewhat foolish choices to drive the plot forward. But in The Housemaid, these choices feel less like calculated stupidity and more like a lack of creativity. Why does Millie stay in a job where her boss is clearly unhinged, her co-worker is a ballerina with a death stare, and her employer’s husband is a walking red flag? The film never quite justifies it, leaving the audience to suspend disbelief—or roll their eyes.
Director Paul Feig, known for his sharp wit in films like Bridesmaids and A Simple Favor, seems to be retreading old ground here. Here’s the bold take: The Housemaid feels like a watered-down version of A Simple Favor, minus the humor and self-awareness that made the latter so enjoyable. Even the set design, complete with a spiral staircase and overly stylized interiors, screams, ‘We’ve seen this before,’ but without the same level of polish or innovation.
The comparisons don’t stop there. The Housemaid desperately wants to be the next Gone Girl, but it falls short in every way. The themes of marital dysfunction and mutual manipulation are there, but they’re handled with all the subtlety of a sledgehammer. And while Sweeney is undeniably a rising star, her performance here feels more like a collection of poses than a fully realized character. Her trademark cleavage-baring outfits are on full display, but they do little to distract from the film’s lack of depth.
But here’s the real question: Is The Housemaid so bad it’s good? For some, the final act’s descent into campy horror might be a saving grace. Others, like myself, might feel it’s too little, too late. The film’s attempt to pivot from serious thriller to self-aware parody is jarring, and the ‘big twist’ is about as surprising as a jump scare in a horror movie. Speaking of which, the jump scares are there, but they’re as predictable as the plot itself.
So, where does that leave us? The Housemaid is a film that tries to do a lot but ends up doing very little. It’s not scary enough to be a horror, not funny enough to be a comedy, and not romantic enough to be a romance. It’s a thriller that thrives on clichés, a drama that lacks emotional depth, and a star vehicle that doesn’t quite give its leading lady enough to work with. But here’s the final thought-provoking question: Does a film need to be original to be enjoyable? Or is it enough to simply give audiences what they expect, even if it’s been done before? Let us know in the comments—we’d love to hear your take.
