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    Movie Review

    Never Rarely Sometimes Always hits high notes with low-budget story

    Alex Bentley
    Apr 1, 2020 | 2:59 pm
    Never Rarely Sometimes Always hits high notes with low-budget story
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    The topic of abortion has been a controversial one for decades, and broaching it in a work of art requires a delicate touch. If you push one ideology or the other too much, you not only alienate a portion of the audience, but you also run the risk of overlooking the story in favor of the message.

    Never Rarely Sometimes Always toes that fine line with the story of Autumn (Sidney Flanigan), a 17-year-old from western Pennsylvania who gets pregnant. Unable to tell her family and chagrined by her treatment at a local health clinic, she and her cousin Skylar (Talia Ryder) make their way to New York City to try to get her an abortion.

    The film, written and directed by Eliza Hittman, is about Autumn’s journey, but it comments on a variety of topics through that prism. They include a disparity in wealth, healthcare, and gender equality, along with the generally awful manner in which women are treated by men.

    That last one is the most obvious, as Hittman shows men to be almost uniformly terrible. In the film, they come in the form of the unknown male who got her pregnant; an inattentive and unloving father; a creepy manager at the grocery store where she works; a boorish customer who hits on her cousin; an overbearing guy on the bus to New York; and a man who masturbates in front of them on the subway. Not one man with a speaking role comes off well, a true lambasting if ever there was one.

    But the mistreatment of Autumn and Skylar by men is merely a layer of the story, a highly emotional one that highlights just how difficult getting an abortion can be for someone like Autumn. The hoops that she has to jump through, the starting and re-starting of the process, and the uncertainty surrounding the whole thing make it a harrowing tale, especially if you’ve never been in the shoes of someone like her.

    Flanigan and Ryder, both of whom are making their feature film debuts, are each compelling in their own ways. Flanigan portrays Autumn as timid and somewhat unemotional, so any moments that go against those traits make her stand out. Ryder is a tremendous supporting actor, and the way she deals with unwanted male attention is a masterclass in subtlety.

    Never Rarely Sometimes Always is a rewarding watch for anyone looking for a great story and terrific acting by two up-and-coming performers. Given the lack of theatrical releases in the coming months, film lovers would be wise to spend some time with one of the best movies of 2020 so far.

    ---

    Never Rarely Sometimes Always will be available on April 3 for streaming and on-demand on platforms like Prime Video, Apple TV, Xfinity, Vudu, Google Play, and Fandango Now.

    Sidney Flanigan in Never Rarely Sometimes Always.

    Sidney Flanigan in Never Rarely Sometimes Always
    Photo by Angal Field/Focus Features
    Sidney Flanigan in Never Rarely Sometimes Always.
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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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