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    Movie Review

    Naomi Watts battles the elements and grief in Infinite Storm

    Alex Bentley
    Mar 24, 2022 | 4:07 pm
    Naomi Watts in Infinite Storm.play icon
    Naomi Watts in Infinite Storm.
    Photo courtesy of Bleecker Street

    If her 2021 films are any indication, actress Naomi Watts enjoys spending time in nature, facing challenging situations. In The Desperate Hour, she played a mom who finds out about a school shooting at her son’s school while on a run in the woods, forcing her into a long and anguished trek back to town. Now, in Infinite Storm, she spends a lot of time in the New Hampshire wilderness, with a heroic goal of keeping another man alive.

    Watts plays Pam Bales, a real-life member of the Pemigewasset Valley Search & Rescue Team in New Hampshire. A woman with some life trauma that goes undefined for most of the film, she often goes hiking by herself in the Mount Washington area, mostly as a form of therapy.

    On the particular winter day in the film, she sets out for a long hike knowing the weather might be bad at the top. She’s soon hiking through deep snow in a fierce winter storm when she notices footprints leading toward the top of a peak. There, she finds an almost catatonic man, whom she needs to convince to get off the mountain if either of them is going to survive.

    Directed by Polish filmmaker Malgorzata Szumowska and written by first-time screenwriter Joshua Rollins, the film surprisingly does not take the route that most films of this ilk do. Although the film shows the various ups and downs Pam and the man, whom she calls John, experience during their trek, it doesn’t attempt to document every moment. Instead of milking every dangerous situation to amp up emotions, the filmmakers often fast forward past them, alluding to the risk but rarely staying with it for too long.

    This storytelling choice does make things confusing at times, though. Certain scenes with Pam, some of which contain have her recalling flashes of memories from earlier in her life, have the feel of hallucinations, making it unclear if she’s actually seeing what we’re shown. This is especially true in a couple of moments where the man gets further away from Pam than one would think someone rescuing a person would allow.

    The film’s third act is also wholly unexpected, one that upends any predictions on how a film like this would normally end. Ultimately, the title of the film doesn’t refer to the conditions that Pam and John have to endure on their way down the mountain, but rather the fragile emotional state that each of them has endured at different points in their lives.

    Points go to the cast and crew of the film for actually going out in the elements to make the snowbound story. Instead of relying on CGI or other ways of faking the extreme weather, filming was done in the Slovenian Alps. Not to take anything away from Watts or Billy Howle, who plays John, but a good portion of their acting work is done merely by being present in those conditions.

    Watts hasn’t exactly taken a Liam Neeson turn, but if you put together these two films with 2012’s The Impossible, she’s kind of created a “one woman against the world” reputation. Despite being with another person for most of the film, Watts is almost solely responsible for the success of the film, as she drags John, herself, and the viewer to the finish line.

    While it could have had a more powerful impact if the filmmakers had gone the “easy” route, Infinite Storm earns respect with its relatively light touch and old school filmmaking. After going through back-to-back trauma-filled films, Watts deserves a break, but it’s clear she excels when her characters’ lives are at their bleakest.

    ---

    Infinite Storm opens in theaters on March 25.

    Naomi Watts in Infinite Storm.

    Naomi Watts in Infinite Storm
    Photo courtesy of Bleecker Street
    Naomi Watts in Infinite Storm.
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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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