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    Movie Review

    The idea of romantic love goes under the microscope in far-out Fingernails

    Alex Bentley
    Nov 3, 2023 | 12:30 pm

    The concept of love is an ineffable thing, especially between romantic partners. While movies have spent plenty of time exploring love, it’s difficult to say they get it “right” because no two situations are ever the same. The new Apple TV+ film Fingernails delves into the subject in a unique way, one that may have some couples questioning their own bonds.

    Anna (Jessie Buckley) is in a steady-if-unexciting relationship with Ryan (Jeremy Allen White), but one that has been verified by science, as they have submitted themselves to a test using new technology that confirms that they truly are in love. While they believe in the test, others are skeptical of its accuracy and refuse to take it, perhaps out of fear that it would come back negative.

    Anna, looking for something new in her life, applies for a job at the institute that administers the test, a fact she hides from Ryan. She’s paired up with Amir (Riz Ahmed) to work with various couples to test their compatibility. Unfortunately – or fortunately? – she finds herself slowing falling for Amir, causing her to question the infallibility of the test and who she should actually be with.

    Written and directed by Christos Nikou, and co-written by Sam Steiner and Stavros Raptis, the film is an interesting exploration of what it means to be in love wrapped in a slightly sci-fi concept. The idea that any kind of computer test could verify a couple’s love seems implausible, and there are times when the company, led by the harried Duncan (Luke Wilson), comes off as a one big scam.

    Still, a lot of people buy into it, especially Anna and Amir, and the type of methods they use on couples sells that belief, including things like electroshock and tandem skydiving. But it’s the actual test that takes the most faith, and it’s here where the title of the film comes in. Suffice it to say that both members of a couple must make a sacrifice to prove their love for one another, and it’s not for the faint of heart.

    However, if you remove the far-out parts, the story is one seen many times before. One partner, Anna, longs for a freshness in her relationship, while the other, Ryan, is comfortable and doesn’t see a need to change what doesn’t seem to be broken. Amir not only offers something new for Anna, but seems to share a more open-minded approach in general. The added element of the test merely heightens her need to get to the bottom of her feelings.

    Buckley has been a bit of a chameleon in her career, but she always manages to give her characters lots of heart. She makes Anna into someone who wears her heart on her sleeve, and it’s a wild ride of her emotions. Ahmed is a similarly empathetic actor, and he makes for a great complement to Buckley. White has an intensity, recently seen on FX’s The Bear, that’s softened here, but just enough so as not to make him seem like a complete jerk.

    It’s difficult to believe that many people would go to the lengths the characters in Fingernails do to find out if they’re compatible with their partners, but watching others do it makes for a compelling watch. It’s also a warning that too much questioning about the nature of love can cause damage to one’s soul.

    Jessie Buckley and Jeremy Allen White in Fingernails

    Photo courtesy of Apple TV+

    Jessie Buckley and Jeremy Allen White in Fingernails.

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    Fingernails is now streaming on Apple TV+

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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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