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    Movie Review

    The fun is endless in time-stretching new rom-com Palm Springs

    Alex Bentley
    Jul 7, 2020 | 5:20 pm
    The fun is endless in time-stretching new rom-com Palm Springs
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    Time loop movies almost always work, no matter what genre they’re in. From straight-up comedy like Groundhog Day to action-adventure like Edge of Tomorrow to horror like Happy Death Day, the concept is endlessly entertaining to see how characters deal with the time loop and, ultimately, how they get out of it.

    Palm Springs is another great addition to the sub-genre because it never tries to be much more than it needs to be. Nyles (Andy Samberg) and Sarah (Cristin Milioti) are both guests at a wedding in Palm Springs. Nyles is the boyfriend of bridesmaid Misty (Meredith Hagner) and Sarah is the sister of the bride, Tala (Camila Mendes).

    Nyles, wearing a Hawaiian shirt and shorts, doesn’t fit in at the formal wedding, and certainly doesn’t act like it. He and Sarah hit it off and spend most of the night together, winding up out in the desert. Through a series of events that are best experienced while watching, the two of them end up living the day of wedding over and over again, with seemingly no way out.

    Directed by Max Barbakow and written by Andy Siara, both of whom are making their feature film debuts, the movie takes the novel approach of having more than one person experience the time loop at the same time. This allows the characters to play off each other even more than usual, as each can understand exactly what the other person is going through.

    The setting of the wedding also makes it greatly engaging, as the stresses of the bride, groom (Tyler Hoechlin), parents (Peter Gallagher and Jacqueline Obradors), and more combine with that of Nyles and Sarah for some spectacularly funny situations. Given how the concept of the time loop is so strange in and of itself, the filmmakers are also able to play with some far-out scenarios to broaden the humor.

    As one might expect when two characters spend hundreds (thousands? millions?) of days stuck together, a romantic comedy of sorts becomes part of the story. However, it is obviously atypical of the type of rom-com we normally get, as both of them grapple with not only the effects of the time loop, but also with their positions in the world as unmarried people in their late thirties/early forties.

    Samberg and Milioti have immediate chemistry together, each seeming to know exactly how to react to the other at all times. The two TV veterans have experience playing up broad situations, and they make the most out of almost every scene. The supporting cast keeps things rolling, especially J.K. Simmons as an uncle with a temper and June Squibb, who pops up with the perfect bon mot every now and again.

    Coming in at the ideal 90 minutes, Palm Springs gives you everything you could want out of this type of film. The characters are relatable, the situations are wild and tons of fun, and it exits stage left before overplaying its hand.

    ---

    Palm Springs debuts exclusively on Hulu on July 10. It will also play in select drive-in theaters.

    Cristin Milioti and Andy Samberg in Palm Springs.

    Cristin Milioti and Andy Samberg in Palm Springs
    Photo by: Jessica Perez/Hulu
    Cristin Milioti and Andy Samberg in Palm Springs.
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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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