Based on the bestselling novel by Freida McFadden, The Housemaid is a dark, sexy and satisfying thriller, with plenty of twists to enjoy along the way.

Millie (Sydney Sweeney) applies for a job as a housemaid for the wealthy Winchester family. We first meet her as she pulls up to the grand Winchester house in her run-down car — a gated mansion with echoes of the sinister and mysterious Manderley in Hitchcock’s Rebecca. What secrets might be contained behind these gates? Millie is about to find out.

She is interviewed by Nina Winchester (Amanda Seyfried), an eccentric and over-familiar housewife who is so taken with Millie that she immediately offers her the job on a live-in basis. An alarmingly artificial family portrait looms large in this early scene, suggesting that the Waspy Winchesters are more the artist’s impression than reality.

Millie is given a bedroom in the attic — a strange place to lodge a housemaid, considering the enormity and grandeur of the Winchester mansion. The attic is stark, claustrophobic and loaded with gothic literary connotations that the story knowingly leans into.

The Housemaid is a dark, sexy thriller and a seriously satisfying watch

Also part of the Winchester household is Nina’s charming and sensitive husband Andrew (Brandon Sklenar) and their cold, and at times creepy, daughter Cecelia (Indiana Elle). Sklenar expertly plays all the right notes as Andrew — the heartthrob husband, doting dad and even Millie’s patient confidant, routinely apologising for his wife’s erratic behaviour.

He grows even more compelling as the film gains momentum. Directed by Paul Feig of Bridesmaids and Spy fame, The Housemaid is a thriller tinged with comedy. Its best, darkly funny moments are often delivered by Sklenar in climactic scenes, where his lines land with perfect timing.

Cecelia, meanwhile, is an archetypal creepy kid, often found tinkering with a rickety old doll’s house that uncannily resembles the Winchester mansion, or spouting cryptic and ominous messages. That said, she serves her purpose of dropping narrative breadcrumbs as we piece together the family’s secrets.

Sweeney is adept at portraying the enigmatic housemaid, Millie. Early on, Millie confesses to us, via voice-over, that she has lied on her resume: she is under-qualified, sleeps in her car and washes in public restrooms.

She is desperate to hold on to this job, no matter what. Sweeney excels in playing a character who seems broken and desperate, without veering into melodrama. Even in the most high-stakes moments, there is a captivating sense of control and subtlety to her performance.

Seyfried’s troubled housewife is the foil to Sweeney’s mysterious housemaid. It’s here that Seyfried’s notably expressive style of acting comes powerfully into play. Excessively warm but with sharp edges, Nina too is something of an enigma. From her interactions with so-called friends — a shallow coterie of Stepford-wife types who gossip about her the moment she leaves the room — we learn that Nina’s life is far from perfect.

The Housemaid is an adaptation of McFadden’s hugely successful novel. She has been dubbed the “queen of crime fiction” on BookTok (the TikTok subculture dedicated to discussing fiction) due to the immense popularity of her work among influencers. As this origin story suggests, The Housemaid is an unapologetic crowd pleaser. It doesn’t reach the intellectual heights of a thriller such as Gillian Flynn’s Gone Girl, which straddles genre and literary fiction. In fact, when I asked a friend why she’d read the novel, she said she’d Googled “What’s the easiest book to read?”

The Housemaid has less to say than Gone Girl about the complexity of gender roles and relationship dynamics, and I’d be surprised if any of the performances receive the kind of critical acclaim Rosamund Pike earned for her iconic turn in David Fincher’s adaptation. But let’s be clear: The Housemaid is a hell of a good time at the cinema.

The writer is Lecturer in Media and Communication at Anglia Ruskin University in the UK

Republished from The Conversation

Published in Dawn, ICON, January 11th, 2026