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    Movie Review

    Love isn't dead in the romantic and futuristic Swan Song

    Alex Bentley
    Dec 17, 2021 | 1:45 pm
    Love isn't dead in the romantic and futuristic Swan Song
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    Modern films that are set in the future tend to make it look both glamorous and terrifying. In the minds of many filmmakers, the future will have sleek technology that will bring convenience and simplicity to our lives. On the flip side, though, is the possibility that the people in charge of that technology or the technology itself will turn on us, turning that easiness into a nightmare scenario.

    The world in Swan Song lies somewhere between those two ideas. Set in an indeterminate point in the future, the film sees Cameron Turner (Mahershala Ali) diagnosed with a terminal disease. Unwilling to break the news to his wife, Poppy (Naomie Harris), with whom he has one child and another on the way, Cameron turns to a solution that will allow him to keep living … at a cost.

    That answer lies with Dr. Scott (Glenn Close), who runs a company that is not only capable of cloning patients, but can also transfer their complete memory to the clone, allowing the clone to replace the patients before they die. The idea brings up a number of ethical dilemmas, not least of which is the knowledge that the clone could be living life as you while you’re still living.

    Written and directed by Benjamin Cleary, who’s making his debut as a feature filmmaker, the film does one of the best jobs in recent memory of integrating future elements into a story without making it all about those parts. An early scene showing the first time Cameron and Poppy met involves a robot that seemingly magically conjures food, but the point of the scene is the connection between the two people, not the fantastical stuff around them.

    Likewise, once you get past the sheer idea that a clone could be created and given a person’s memory, the emotions of the situation take over. What must it take for someone to willingly acknowledge their own impending death and hand over control of their life to a clone? How mind-altering would it be to have someone who looks like you, talks like you, and knows everything you do? And, most pressing of all, how difficult would it be to not tell the people you love that you are replacing yourself?

    That last one is perhaps the biggest sticking point in the story. Cameron and Poppy are shown to have a very close, perhaps idealized, relationship. Are we really to believe that Poppy has no idea about Cameron’s dire situation? Cameron has multiple close calls where his condition is almost revealed to Poppy, to the point where Cleary is pushing the edges of plausibility that Poppy can still remain in the dark.

    The reason that he can get away with the subterfuge is because he, Ali, and Harris crafted a bond that rivals some of the great romances. Although their relationship is shown mostly in flashback memories, it’s nearly impossible not to swoon over the love Cameron and Poppy have for each other. Both Ali and Harris have rarely been better, each reaching for emotions that are unique and universal at the same time.

    The type of story told in Swan Song is typically darker than the one it actually presents, but that doesn’t make its drama any less. It showcases the beauty of both life and death, and the lengths we will go to help the ones we love.

    ---

    Swan Song is now playing in select theaters and on Apple TV+.

    Mahershala Ali and ... Mahershala Ali in Swan Song.

    Mahershala Ali in Swan Song
    Photo courtesy of Apple TV+
    Mahershala Ali and ... Mahershala Ali in Swan Song.
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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.

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    The Housemaid is now playing in theaters.

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