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    Movie Review

    Hobbs & Shaw goes fast and furious with comedy in entertaining spinoff

    Alex Bentley
    Aug 1, 2019 | 12:31 pm
    Hobbs & Shaw goes fast and furious with comedy in entertaining spinoff
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    There’s rarely any middle ground when it comes to the Fast & Furious franchise, which is what makes the spinoff Hobbs & Shaw such a surprise. The series is now nine movies deep, and most people have either surrendered themselves to the ludicrousness it contains or dismissed the movies as everything that’s wrong about Hollywood.

    The film, which has the full ridiculous-on-purpose title of Fast & Furious Presents: Hobbs & Shaw, teams up Luke Hobbs (Dwayne Johnson) and Deckard Shaw (Jason Statham), who have been antagonists in previous films in the series.

    This time, they’re tasked by their respective governments to track down Hattie (Vanessa Kirby), an MI6 operative infected with a secret serum that could destroy the world. Also on her tail is Brixton (Idris Elba), a super soldier backed by a shadowy organization that wants the serum for its own nefarious purposes.

    Usually in this series, the story is merely a loose framework in which to include as much action as possible. However, director David Leitch and co-writers Chris Morgan and Drew Pearce offer up more than lip service to the plot this time. In fact, it could be argued that Hobbs & Shaw has more to offer in the script department than all of the previous films in the series combined.

    The filmmakers lean heavily into the hostile relationship between Hobbs and Shaw, and it works like a charm. The insult-heavy banter between the two is normally something that wears thin after a while, but whether it’s the lines themselves or how Johnson and Statham deliver them, the jokes remain effective throughout the movie.

    Aiding the success of the film is that prior knowledge of the series is helpful but not necessary. The background of Hobbs and Shaw is laid out well, as are the introduction or re-introduction of Hattie, Brixton, and Magdalene Shaw (Helen Mirren), Deckard’s mother who’s serving time behind bars.

    It wouldn’t be a Fast & Furious movie without over-the-top action, but Leitch and company keep things relatively grounded for most of the film. The action is mostly hand-to-hand combat, with the outrageous car chase scenes the series is known for saved for just the right moments.

    Finally, there are a couple of fantastic uncredited cameos that elevate an already highly entertaining movie. Both of those actors use their comedic personas to complement the talents of Johnson and Statham, and their scenes together are among the best in the movie.

    With next year’s Fast & Furious 9 featuring the full cast yet again, it makes you appreciate the comparatively small scale of Hobbs & Shaw. It focuses on humor and one great central relationship, and winds up being one of the best films in the series because of it.

    Dwayne Johnson and Jason Statham in Hobbs & Shaw.

    Dwayne Johnson and Jason Statham in Hobbs & Shaw
    Photo by Frank Masi/Universal Pictures
    Dwayne Johnson and Jason Statham in Hobbs & Shaw.
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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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