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    Movie Review

    New Beauty and the Beast is no belle of the ball

    Alex Bentley
    Mar 16, 2017 | 4:17 pm
    New Beauty and the Beast is no belle of the ball
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    The idea of Disney producing “live action” remakes of their classic animated movies makes sense in general terms. Childhood nostalgia is a huge draw, and since Disney possesses the biggest back catalog of any animated film studio, they’d be throwing away money if they didn’t try to entice moviegoers with “new” versions of the films they know and love.

    However, the new product should also offer something substantially different, otherwise you run the risk of jilting the very fans for whom the film is being made. The updated Beauty and the Beast is certainly great to look at, but once you get beyond the superficiality of seeing animated characters as real or computer-generated, the movie contains very little that sets it apart from the original.

    Sure, they try to add in a few things to modernize the story. Belle (Emma Watson) has put her book smarts to practical use, creating a type of washing machine. A brief backstory for why her mother is no longer in the picture for her and her father (Kevin Kline) is introduced. And LeFou (Josh Gad), the right-hand man of Gaston (Luke Evans), is made more explicitly gay, though whether that’s an improvement is questionable.

    Despite that, the film feels like a fuzzy copy of the movie you know and love. The story still takes the exact same twists and turns, highlighted by the familiar songs that all seem just a touch off. And because there’s nothing surprising about anything in the film, it’s purely an exercise in hitting all the beats you need to hit in order to trigger the right memories.

    The most enjoyable part of the film ends up being the performances of the main three actors. Taken on their own, Watson, Dan Stevens as the Beast, and Evans are a pleasure to watch. Watson makes for an appealing Belle, and her history as Hermione in the Harry Potter films imbues a little something extra onto the character. Evans is as perfect a Gaston as you could imagine, making him the ideal foil for Belle and the Beast.

    But other choices take away from those performances. Having stars like Ian McKellen, Ewan McGregor, Emma Thompson, Stanley Tucci, and Audra McDonald voice the enchanted items at the Beast’s castle is fun in theory. But since they don’t appear in the flesh for 99 percent of the film, their presence is essentially useless.

    And then there’s the much ballyhooed/controversial idea of LeFou being undeniably gay, as opposed to the “wink wink” hints of the original. It’d be one thing if he were given a respectable side story to semi-explore that aspect. But he remains a buffoon, and the ham-handed scenes expressing the gayness of him and another character are so unsubtle and clichéd that they belong in an '80s sitcom, not a modern-day movie.

    The animated fare that Disney serves up year after year is still second-to-none, but Beauty and the Beast shows that they’re still very hit-and-miss when it comes to live action. You may think you want to go see it, but you’d be better off firing up the DVD of the animated version for the 100th time.

    Dan Stevens and Emma Watson in Beauty and the Beast.

    Dan Stevens and Emma Watson in Beauty and the Beast
    Photo courtesy of Walt Disney Studios
    Dan Stevens and Emma Watson in Beauty and the Beast.
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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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