The Housemaid (2025) – Film Review
Director: Paul Feig
Cast: Sydney Sweeney, Amanda Seyfried, Brandon Sklenar
Certificate: 15
By David Reid
Being unfamiliar with Freida McFadden’s bestselling novel, I made a festive trip out into the cool December air in the hope of some big-screen escapism. I can tell you that I wasn’t disappointed. The film opens as Millie Calloway (a role played by Sydney Sweeney, fresh from her impressive recent turn as Christy Martin in the biopic Christy) drives through the gates of what appears to be a grand Victorian mansion in upstate New York. She is clearly nervous, and it soon becomes apparent that she is on her way to a job interview for the position of housemaid at the home of the Winchester family: well-to-do, and involved in the technology industry.
The interviewer is Nina Winchester (played by Amanda Seyfried of Mean Girls and Mamma Mia! fame, as well as an Emmy and Golden Globe-winning turn in The Dropout). Nina gives Millie a tour of the property and outlines the responsibilities of the role, including caring for the family’s only child, Cece (Indiana Elle). A mention, during the house tour, of Stanley Kubrick’s 1975 film Barry Lyndon may be a clue that this film is trying to establish itself, from the outset, as something better than average fare. Surprisingly for Millie, though perhaps less so for the viewer, Millie is offered the job.
Upon commencing her new employment, Millie has an opportunity to meet husband and father Andrew Winchester (previously seen in It Ends With Us and Drop), as well as his and Nina’s daughter, Cece (Indiana Elle). Underlying tensions quickly emerge, although the audience is kept guessing as to what is really going on, and why. This is a film that keeps its cards hidden for as long as possible; yet, in hindsight, there are subtle clues as to how things may develop, for those who pay very close attention. Director Paul Feig, a veteran of quality work often featuring complex characters (for example, in Bridesmaids, The Heat and the US version of The Office), does well to draw the viewer into an intriguing premise before carefully revealing more information over the course of the film.
“Much to admire”
This is a true mystery thriller. Millie may have joined this household primarily to provide childcare, although the focus here is not on Cece, whose involvement tends to create opportunities for the main adult characters to interact. They are the key players, and the director’s clever use of flashbacks enables a gradual understanding of these individuals, their problems and their history. Most of the key scenes take place within the Winchester home. For viewers who like their real estate contemporary and well-lit, there is much to admire, emphasised through John Schwartzman’s cinematography.
I was slightly puzzled by the place of the gardener, Enzo, within the story. He is described as a groundsman, yet the aerial shots of the property suggest limited acreage for him to tend. This is matched by his tangential relationship with the other characters. Still, this feels more like a curiosity than a criticism.
The film is based on Freida McFadden’s contemporary global bestselling novel. McFadden is also credited as a co-writer, alongside Rebecca Sonnenshine, and together they produce engaging, realistic dialogue. Theodore Shapiro’s soundtrack displays real creativity, setting the tone during the first couple of acts before changing gear to concentrate on increasing the suspense later, pushing the audience towards the edge of their seats as the action reaches its dramatic conclusion. In particular, good use is made of female country-style vocalists, including Linda Ronstadt’s cover versions of The Rolling Stones’ ‘Tumbling Dice’ and Roy Orbison’s ‘Blue Bayou’, as well as Taylor Swift’s ‘I Did Something Bad’.
“Complex”
Once the action cranks up, there is a sense of foreboding that something truly bad is going to happen. The skill of the writers and director means we are kept guessing, with multiple twists and turns as to what that might be. You begin to appreciate the cleverness of the film, which may well be the result of a well-written novel. In that respect, there are stylistic parallels with the 2014 relationship thriller Gone Girl, and echoes of Emerald Fennell’s 2020 debut feature Promising Young Woman. If you enjoyed either, or both, of those, you are in safe territory here. The three leads all give strong, nuanced performances.
At times, the film takes you to a point that might have served as the denouement in a classic suspense thriller of decades past, before taking the narrative in a different direction. Rather than feeling frustration, this heightened my enjoyment of a complex story that teased and challenged my expectations. Without giving anything away, this is a genuine big-screen treat on a winter’s night. Our investment in the story is richly rewarded.
As the references above suggest, this is the type of film that graces cinema screens all too rarely. My hope is that a successful run will prompt consideration of future adaptations of McFadden’s two sequel novels in the series, namely The Housemaid’s Secret and The Housemaid Is Watching. Perhaps it is one to watch, through our fingers.
David’s passion for cinema began with his first trip to the movies during The Troubles in Northern Ireland, where a screening of Jaws was dramatically interrupted by a bomb scare. Growing up in such an environment made entertainment scarce, deepening his appreciation for film and the arts. Over 25 years ago, he won a national film review competition, earning free cinema for life. This experience has allowed him to explore a vast range of genres and storytelling techniques. His reviews aim to provide insightful commentary without spoiling key surprises, helping audiences decide if a film is for them. He believes great filmmaking is rooted in strong storytelling, engaging viewers through narrative depth and presentation.
