Paul Feig has had a turbulent run of films in more recent years. The celebrated director of Bridesmaids (2011) and Spy (2015) has released less well-received affairs such as The School for Good and Evil (2022) and Jackpot! (2024). Whilst The Housemaid isn't a classic like Bridesmaids, it hints at a return to form for Feig.

What certainly helps is the source material. This psychological thriller is adapted from Freida McFadden's novel of the same name. The big-screen adaptation follows the same beats as the book: Millie (Sydney Sweeney), a down-on-her-luck young woman, takes the job as a housemaid for a wealthy family. They are Nina (Amanda Seyfried), her husband Andrew (Brandon Sklenar), and daughter Cece (Indiana Elle). As seen in the trailers, there is obvious tension between Millie and Nina, and every player hides secrets that eventually bubble to the surface.

The trouble with reviewing The Housemaid is delving into the narrative. With so many twists and turns, unpacking them would rob readers of the experience of watching the film on the big screen. Feig's latest cinema release (Jackpot! and The School of Good and Evil are streaming titles) feels like a callback to mid-2000s films: a mid-budget project made for adults that general audiences will surely have a good time with. In this reviewer's screening, people gasped, laughed, and even cheered at one particular moment during the film's climax.

Feig and crew have a great sense of tone. The Housemaid's first half is straight-up camp, leaning into tropes of the genre: a wonderfully hammy performance from Seyfried, delicious close-ups and editing to heighten the drama, and carefully placed music tracks. This is all simply set up for a midpoint gear shift that heads into straightforward thriller territory. Feig is clearly having a blast here, not afraid to get a bit bloody as he teases some genuinely compelling themes. With a game cast, the two halves combine to create a cinema experience that will get audiences reacting—word-of-mouth will surely get more bums in seats for this.

Whilst The Housemaid is undoubtedly a fun ride, the deeper messages never come through to the surface. Again, it's difficult to talk about without ruining the film, but the two tonally different halves—whilst individually compelling—clash with each other. The latter half attempts to explore a real-world issue with sincerity, but it is undermined by the campy first half that is purely for entertainment value. There is a reality where the two tones are carefully balanced to create an adaptation that is enjoyable yet emotionally engaging, but you won't find it here.

Some book critics have labelled the book as “fast food”, and Feig doesn't do anything to change that with his The Housemaid. One can see why he wouldn't change the formula: the book has sold millions of copies, and this adaptation is so faithful that fans of the book will be happy, and new audiences get to experience the twists as they are. But staying safe robs the opportunity to turn The Housemaid into something more than just a thrill ride.

The Housemaid is in cinemas 26 December.