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    Let's Make a Movie

    New short film from Peabody Award winner casts 1980s Dallas as main character

    Whitney Harris
    Jun 23, 2014 | 9:52 am
    New short film from Peabody Award winner casts 1980s Dallas as main character
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    Dallas is about to become the center focus of a new movie directed by Samantha Buck. And though she may be best known as Detective G. Lynn Bishop on Law & Order: Criminal Intent, her writing and directing chops (she’s a Peabody Award winner for her documentary Best Kept Secret) are about to get some more play.

    Buck, a Dallas native, has co-written a short film with Marie Schlingmann called The Mink Catcher about a local gossip columnist in 1980s Dallas who’s trying to acquaint herself with the city’s mystifying new first lady. The titular character will be played by Cara Buono (Mad Men, The Sopranos) and the object of her attention — the mayor’s wife — will be played by Susan May Pratt (10 Things I Hate About You, Center Stage).

    “This moment in time (and place) seemed ripe with dramatic, suspenseful and funny possibilities,” says director Samantha Buck.

    The story catches fire at a high society viewing party for the hit TV show Dallas. The infamous “Who Shot J.R.?” episode is about to air, and the city’s most well-to-do have gathered to toast the television series, socialize, and watch the drama on screen — and around the room — unfold.

    “We felt that specifically the year 1980 was a turning point for the city of Dallas, as well as for national politics and the temperament of the country,” Buck says. “In a way it seems like Dallas was at the heart of what was defining for the country at large, the role of popular culture and the role of women in politics and work life being two significant elements of these shifts.

    “This moment in time (and place) seemed ripe with dramatic, suspenseful and funny possibilities.”

    Buck actually credits her mother with providing inspiration for the film. “I saw her and her female friends’ ambitions and struggles during that very tumultuous time, and I guess I never really thought about the dramatic potential of it all until I became a storyteller myself.”

    That story is currently positioned to be a 15-minute film with plans to release next spring, at which point an accompanying feature script, The Big D, should be ready. (The Big D will have a larger cast of characters and more broadly cover the heatwaved summer of 1980, the presidential race and the whole “Who Shot JR?” craze.)

    The goal is to shoot everything on location in Dallas and submit the final product to festivals next year. But first, the nine-person crew has launched a Kickstarter campaign to raise funds for everything from location fees to hair and makeup. The goal is $9,000, and backers have already pledged more than $7,400. That said, the team needs to meet its target in these final hours in order to cash in on those promises.

    “We love the idea of bringing an audience into the picture in the early stages, before the film is even made,” says producer Daniella Kahane. “Part of the beauty of filmmaking is that it takes a village, so to speak, and with crowdsourcing it’s the same way. A truly successful campaign relies on reaching many people who are giving small donations rather than few people giving large ones.”

    The project is fully cast, has about 90 percent of the crew committed and its dream location locked down. And, by the end of day June 24, the team just might have an extra $9K to make its “darkly comic melodrama” script into a mini-movie.

    Director and co-writer Samantha Buck was born in Dallas and wants to use the city as a crucible for her melodramatic story.

    Photo courtesy of the Mink Catcher
    Director and co-writer Samantha Buck was born in Dallas and wants to use the city as a crucible for her melodramatic story.
    unspecified
    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.

    ---

    The Housemaid is now playing in theaters.

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    news/entertainment

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