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    Movie Review

    Barbarian blends horror and comedy with bizarre results

    Alex Bentley
    Sep 9, 2022 | 3:20 pm
    Georgina Campbell in Barbarianplay icon
    Georgina Campbell in Barbarian.
    Photo courtesy of 20th Century Studios

    The connection between horror and comedy is closer than one might think. Both often involve an element of surprise, resulting in either a scream or a big laugh in reaction to something unexpected. Perhaps that’s why some people best known for comedy are wading into the horror waters, including Jordan Peele in recent years and now Zach Cregger, known best for the show The Whitest Kids U’Know.

    Cregger’s first attempt at horror is Barbarian, a seemingly straightforward haunted house film that turns into something completely off-the-wall. Tess (Georgina Campbell) has rented an Airbnb in Detroit in advance of a job interview. Arriving late on a rainy night, Tess discovers Keith (Bill Skarsgård) already in the house, claiming that the house had been double-booked through a different service.

    The awkward and potentially dangerous situation soon turns into something quite different when they discover that the house’s basement has hidden rooms and passageways. Without delving into spoilers, suffice it to say that the house contains some truly disturbing things, revealing secrets about its former owner, its current owner (Justin Long), and the run-down neighborhood in which it is located.

    Cregger, who both wrote and directed the film, takes an interesting approach to the film. For the first 45 minutes or so, it feels like your standard horror setup, with Tess rightfully wary of Keith, and subtle clues that malevolent forces are present in the house. The final hour, however, takes on a completely different tone, introduces previously unknown characters and storylines, and generally goes from creepy AF to hilarious WTF territory.

    The result is a kind of A movie/B movie hybrid, one that is just as effective at delivering scares as it is in eliciting laughs and gasps of disbelief. Cregger does a great job at setting the mood throughout, something that becomes especially tricky as he moves back-and-forth between tones in the second half of the film.

    Also affecting the mood is the addressing of various social issues. While far from the main focus, topics such as white flight, #MeToo, and toxic masculinity all work their way into the story. Anyone on the Detroit tourism board is likely to hate the film, as it does all it can to put at least a certain section of the city in a very bad light, along with the city’s police force.

    Campbell is an English actor who’s perhaps best known in the U.S. for her part in the Black Mirror episode “Hang the DJ.” She’s effective in all aspects of this role, from the accent to the trepidation to the abject terror. The casting of Skarsgård is clever, as he played Pennywise in It, keeping viewers constantly guessing what kind of person his character truly is.

    Barbarian, like its seemingly random title, is a difficult movie to properly explain. It gets by mostly on vibes and the pure audacity of Cregger, who manages to entertain despite combining a number of elements that probably shouldn’t work well together.

    ---

    Barbarian is now playing in theaters.

    Georgina Campbell in Barbarian.

    Georgina Campbell in Barbarian
    Photo courtesy of 20th Century Studios
    Georgina Campbell in Barbarian.
    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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