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Movie Review

Adam Sandler mines his dramatic chops in chaotic Uncut Gems

Alex Bentley
Dec 26, 2019 | 12:30 pm
Adam Sandler mines his dramatic chops in chaotic Uncut Gems
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The concept of the anti-hero is always something that makes the audience question their own morality. What does it say about us when we’re rooting for Bonnie & Clyde, Walter White, or Tony Soprano to succeed in their misdeeds? Of course, usually anti-heroes have at least shreds of redeeming qualities, something that can’t be said of the protagonist at the center of Uncut Gems.

Howard Ratner (Adam Sandler) is a jewelry shop owner in New York who caters to high-end clients like NBA star Kevin Garnett. He’s also brash, confrontational, and a degenerate gambler who owes money all over town. He has a beautiful wife, Dinah (Idina Menzel), so naturally he’s carrying on an affair with one of the workers at his shop, Julia (Julia Fox).

Howard has struck a shady deal for a raw opal from Africa that he hopes will land him big money in an auction, one in a series of high-stakes gambles that few others would take. But when Garnett takes a shine to the opal and borrows it for good luck during the playoffs, it sets off a chain of events where Howard keeps risking more and more to ensure he gets the win.

Whether you find this movie pleasurable to watch will depend on your tolerance for chaos. Written and directed by Benny and Josh Safdie, the movie starts off with the pedal to the metal and never lets up. The preferred method of communication for Howard is profane yelling, and since he’s in virtually every frame of the movie, that's what we get for the entire 135-minute running time.

Given that he has a steady stream of clients and has managed to convince not one but two beautiful women to have sex with him, Howard would seem to be a charismatic man. But that charisma is rarely on display in the film, where he chiefly comes off as out-of-control and unconvincing. It’s unclear why anyone would want to be around this guy, much less do business or have an affair with him.

The entire story is full of similar insanity. Howard’s brother-in-law Arno (Eric Bogosian) uses goons to try to get Howard to pay a debt, although said goons are hit-and-miss with their enforcement techniques. Demany (LaKeith Stanfield), a go-between who procures clients like Garnett for a fee, gives the run-around to Howard, seemingly the only person willing to call him on his demeanor.

The Safdie brothers have set the movie in 2012 seemingly just to fit Garnett into the story, and the time period and city in which it takes place bring up a few unanswerable questions. The biggest one is why Garnett, who’s shown playing for the Boston Celtics against the Philadelphia 76ers, makes multiple visits to New York during the playoff series. Even given his attachment to the gem and the relative proximity of Boston and Philadelphia, it seems a step too far to visit Howard on more than one occasion.

This is a rare chance for Sandler, who’s known for his goofy comedies, to show some dramatic chops, and he’s certainly made some interesting choices. The character is irritating as hell, but that doesn’t necessarily equate to good acting. Stanfield is much better, showing yet another side of his talent and bolstering his already-stacked résumé. Garnett is pretty good in his first film role, although it’s not exactly a stretch to play himself.

The Safdie brothers are out to make viewers into balls of stress when watching Uncut Gems, and there’s an argument to be made that their success in doing so makes it great filmmaking. Far be it from me to say that’s wrong, but I’ll pass on another experience like this one.

Adam Sandler in Uncut Gems.

Adam Sandler in Uncut Gems
Photo courtesy of A24
Adam Sandler in Uncut Gems.
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Movie Review

Amanda Seyfried and Sydney Sweeney go off in trashy film The Housemaid

Alex Bentley
Dec 19, 2025 | 12:24 pm
Amanda Seyfried and Sydney Sweeney in The Housemaid
Photo courtesy of Lionsgate
Amanda Seyfried and Sydney Sweeney in The Housemaid.

Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

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The Housemaid is now playing in theaters.

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