THE HOUSEMAID is a 2025 thriller from director Paul Feig, the guy who did BRIDESMAIDS, THE HEAT and SPY, but remember he also did A SIMPLE FAVOR. This is in that vein: twisty, a little sexy, a little trashy, all in good fun. A romp.
Sydney Sweeney (THE MARTIAL ARTS KID) stars as Millie Calloway, who applies for a job as live-in maid for rich lady Nina Winchester (Amanda Seyfried, FIRST REFORMED) in her big ol’ gated estate. Millie lies about her experience, pretends to be overqualified, but narrates to us that she doesn’t know why she even applied, because a background check will reveal she’s a felon on parole. Wrong! She gets the job. Sydney Sweeney is… THE HOUSEMAID.
One red flag about the job is that on day one Nina excitedly welcomes her, saying “It’s gonna be fun, Millie!,” but gives zero explanation for why the house looks completely trashed, like there was a huge party and not one single thing was picked up afterwards. Millie cleans and cooks and gets a triangular attic room that’s decidedly not as nice as any other room in the entire house, but maybe she means it when she politely says “It’s perfect,” because it’s a step up for her. By the way, is it weird that the window doesn’t open and the door only locks from the outside and she has to ask a couple times before she gets the key for it? Eh, it’s probly nothing. Nina is really nice at first and we assume her little girl Cece (Indiana Elle) will warm up to Millie eventually. For now she just pouts and lectures her about fresh-from-the-dishwasher glasses being too dirty. (read the rest of this shit…)
A SIMPLE FAVOR is an entertaining thriller from known-for-comedy director Paul Feig (THE HEAT). He brings to it some humor and his obvious rapport with the great casts he puts together, but if we had to categorize it we’d be forced to put it in with 
THE PEANUTS MOVIE is a 95% respectful and pure tribute to the American institution that is the comic strip Peanuts by Charles Schulz and its animated adaptations by director Bill Melendez (especially 1965’s A Charlie Brown Christmas and 1966’s It’s the Great Pumpkin, Charlie Brown). With surprisingly little compromise or update it brings all the characters back to the screen in recognizable form. It doesn’t add new characters or celebrity voices or make them talk like smartass sitcom shitheads, or try to make some kind of meta commentary about what Peanuts represents, or give some origin story about how Charlie Brown got his dog or the first time he tried to kick a football, or some joke pointing out that it’s weird that he seems to only have one hair on the front of his head and two on the back… basically, it doesn’t do any of the one hundred dumbass things that you can guarantee almost any asshole who would make this movie would think was a good idea. Luckily, those assholes were busy trying to ruin The Muppets or something when this was made. 
