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    Movie Review

    Netflix stakes claim as premier studio with propulsive Triple Frontier

    Alex Bentley
    Mar 6, 2019 | 1:00 pm
    Netflix stakes claim as premier studio with propulsive Triple Frontier
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    Netflix, much to the chagrin of some in Hollywood, is continuing to infiltrate all areas of the moviemaking world. Fresh off winning multiple Oscars for Roma, the streaming service seems to have designated 2019 as the year it truly takes over. Films from big-name directors — most notably Martin Scorsese’s The Irishman — will be coming out all year long, with the latest being the star-laden crime thriller Triple Frontier.

    As the film begins, Santiago Garcia (Oscar Isaac) is seen helping with a drug bust in South America. When he gets wind of a huge amount of cash hidden at a drug king’s home in the jungle, he sets out to recruit some former Special Forces buddies to help him steal it. They include Tom Davis (Ben Affleck), Ben Miller (Garrett Hedlund), William Miller (Charlie Hunnam), and Francisco Morales (Pedro Pascal).

    Each member of the group is now leading a life that is at stark odds with what they expected upon leaving the military, making them vulnerable to greed in a situation like this. Naturally, each member also possesses a certain skill crucial to the mission, talents that will come in handy if they are to succeed in not only raiding the house, but also schlepping the haul out of the country.

    If you’ve seen pretty much any heist movie, it’s clear from the get-go that not everything will go smoothly. But the manner of those obstacles and how effectively they are overcome determine the worthiness of this type of film. It already has a sheen of credibility thanks to Oscar-nominated co-writer/director J.C. Chandor and co-writer Mark Boal, who, along with executive producer Kathryn Bigelow, has made Oscar-winning military movies like The Hurt Locker and Zero Dark Thirty.

    The filmmakers give the story a propulsion from minute one that rarely lets up. While the film never goes too deep on why the five men are so good at what they do, thanks to their ease of communication, there’s never a doubt that they are elite soldiers who know how to handle themselves when things go to hell. They are also confronted with a number of moral quandaries, and it’s the treatment of those situations that makes the film more than just your standard thriller.

    A few elements hold it back a bit, most notably why the film is called Triple Frontier in the first place. Without any foothold in the plot of the film, it’s a generic action movie title that should have been rethought. And while the suspension of disbelief holds up for most of the running time, there are a few moments where characters go over the line and break the spell of the movie.

    The five main actors work as well together as you would hope. The film requires hyper-masculinity at almost all times, and each of them in their own unique way provides the requisite testosterone. Isaac is the de facto leader, and he exudes both a calmness and intensity that suits the role perfectly.

    Were this a standard theatrical release, it’s easy to see Triple Frontier competing for the top spot at the box office for a few weeks or more. It’s as good a crime thriller as any movie fan could want, and one that demonstrates that Netflix is staking its claim as one of the premier movie studios.

    ---

    Triple Frontier will have a special one-week theatrical run at Landmark Magnolia before debuting on Netflix on March 13.

    Oscar Isaac and Ben Affleck in Triple Frontier.

    Oscar Isaac and Ben Affleck in Triple Frontier
    Photo by Melinda Sue Gordon
    Oscar Isaac and Ben Affleck in Triple Frontier.
    movies
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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.

    ---

    The Housemaid is now playing in theaters.

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