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Movie Review

Teen girl romance gets an update in modern but lightweight Crush

Alex Bentley
Apr 27, 2022 | 11:39 am
Teen girl romance gets an update in modern but lightweight Crush
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Teen comedies tend to fall in one of two categories: They’re either sweet, relatively wholesome stories about finding oneself or discovering love for the first time, or they’re ones that push the limit when it comes to sex, drugs, alcohol, and other things that teens are not “supposed” to do.

The new Hulu film Crush tries to split the difference, with varying degrees of success. Paige (Rowan Blanchard) is an aspiring high school artist with dreams of going to Cal Arts. She long ago came out to her ultra-supportive single mother (Megan Mulally), who’s perhaps a bit too supportive, having all sorts of frank sexual discussions with and around Paige.

Paige has long held a crush on her classmate, Gabriella (Isabella Ferreira), although she can barely form a sentence around her. That changes when Paige decides on the spur of the moment to try out for the school track team despite being supremely awkward. But instead of being paired with Gabriella as she hoped, the coach has Gabriella’s sister, AJ (Auli’i Cravalho), mentor her instead.

The film, directed by Sammi Cohen and written by Kirsten King and Casey Rackham, features a by-the-numbers story despite featuring multiple gay/queer characters. Who Paige will end up falling for couldn’t be clearer than if they had put the person’s name in flashing red lights on the screen. The only difference is that the love triangle involves three girls instead of the typical heterosexual pairings.

The film is not without its charms, though. One side plot involves Paige’s best friend Dillon (Tyler Alvarez) and his girlfriend Stacey (Teala Dunn), who are running against each for school president. Their friendly-but-competitive banter about the election and their insatiable lust for each other make for some of the funniest parts of the movie.

Other parts are underexplored. The school has been the target of multiple graffiti works by a person who goes by “King Pun,” with many, including administrators, thinking it’s Paige. Paige resolves to find the real culprit, but her search is waylaid by a number of things, and by the time the actual King Pun is revealed, it’s both obvious and underwhelming.

The filmmakers fill the movie with lots of explicit sexual jokes, profanity, drugs, and alcohol, making it a hard R – or TV-MA, since it’s on Hulu. There’s nothing inherently wrong with doing that, but it’s kind of an odd choice since the movie is otherwise a light high school comedy with a lead character whose personality doesn’t match the lewdness.

Blanchard is a rising star who’s had parts in TV shows like Girl Meets World, The Goldbergs, and Snowpiercer, and she does decently well here. Her role is mostly one-note, though, something a better teen movie would have remedied. Cravalho, who voiced the titular role of Moana, is arguably the best known of the young stars, and she has a brightness about her that shines through. Ferreira, Alvarez, and Dunn make the most of their respective parts, and deserve to be seen more as well.

While Crush doesn’t rise above the status of “pleasant distraction,” it’s great that it features gay characters who live in a world free from any obvious stress about having to come out or deal with homophobia. The story surrounding them may not be great, but the representation and sentiment about how the world should be definitely is.

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Crush debuts on Hulu on April 29.

Megan Mulally in Crush.

Megan Mulally in Crush
Photo courtesy of Hulu
Megan Mulally in Crush.
movies
news/entertainment

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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