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Tag: The Housemaid

  • The Housemaid 4K & Blu-ray Release Date Set for Sydney Sweeney Movie

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    Lionsgate has officially announced The Housemaid 4K and Blu-ray release dates, revealing when the Sydney Sweeney and Amanda Seyfried-led thriller is out physically.

    When does The Housemaid release on 4K and Blu-ray?

    The Housemaid will release on 4K UHD, Blu-ray, and DVD on March 17, 2026. The 4K UHD combo pack, which also includes the film on Blu-ray and digitally, will retail for $42.99. The Blu-ray version of the film will retail for $39.99, while the DVD will cost $29.96

    Alongside the film’s release at home, the movie will also feature a variety of special features, including:

    • Audio Commentary with Director Paul Feig
    • Audio Commentary with Director Paul Feig and Creative Team
    • From Page to Panic: Making The Housemaid
      • Follow the filmmakers behind this new and exciting thriller as they explain the creative process from the book to the big screen.
    • Secrets of the Winchester House: A Housemaid Tour
      • Take a tour around the iconic house of the film and discover all the intricate details that played an important part in turning this house into another character.
    • “A Peek Inside” Featurette
      • Enjoy this small glimpse of what makes this film an unforgettable experience for the filmmakers and audiences worldwide.
    • Deleted Scenes

    The Housemaid was directed by Paul Feig from a screenplay written by Rebecca Sonnenshine, based on Freida McFadden’s 2022 bestselling novel of the same name. A sequel to the movie, titled The Housemaid’s Secret, is currently in the works and set for a 2027 release date as of now.

    The film also stars Brandon Sklenar, Michele Morrone, Elizabeth Perkins, Megan Ferguson, Ellen Tamaki, Indiana Elle, and more. In addition to leading the cast, Sweeney and Seyfried were also serving as executive producers alongside McFadden, Alex Young, and Will Greenfield. The movie is produced by Feig, Todd Lieberman, and Laura Fischer.

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    Anthony Nash

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  • ‘Avatar: Fire And Ash’ Burning Trail To $300M U.S.; ‘Housemaid’ Holding Strong During First Weekend 2026 – Friday Box Office Update

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    FRIDAY PM: If all goes right for 20th Century Studios’ Avatar: Fire and Ash this weekend, in addition to crossing $1 billion worldwide, the James Cameron directed sci-fi movie will cross the $300M threshold stateside. Tonight, we’re hearing the pic’s third weekend is around $35M at 3,835 theaters, -44%, after a $13.4M Friday, which will get the threequel to $301M by Sunday.

    Avatar: Way of Water‘s third weekend was Dec. 30-Jan 1, which did $67.4M (+4%), while its first weekend of 2023, technically the sequel’s fourth frame, grossed $45.8M (-32%). In hindsight, it’s interesting how well Way of Water hung in there, despite everyone miss-comping the title to Spider-Man: No Way Home, and the misperception that the sequel actually opened under projections. The original Avatar‘s third weekend fell on the first frame of the New Year 2010, that’s when the pic grossed $68.4M.

    Today there were 94% K-12 schools on break and 97% colleges on break according to ComScore. Those numbers eases to 45% K-12 out and 84% colleges on break on Monday, which is still great for the movie business.

    Zootopia 2 is the gift that keeps on giving for Disney with a sixth weekend of $17M at 3,285 theaters, -14%, after a $6.6M Friday. Cume by EOD Sunday is $361.6M. That sixth weekend is more than Moana 2‘s a year ago, which did $12.4M, however, that sequel was bigger out of the gate than Zootopia 2 by $66.6M with a running cume through its sixth Sunday of $425.2M. Still a fantastic hold by Zootopia 2 versus Moana 2‘s -34% a year ago.

    Amanda Seyfried in ‘The Housemaid‘

    Daniel McFadden/Lionsgate

    Lionsgate’s The Housemaid is currently claiming third with $12M+ at 3,070 theaters, -22%, after a $4.6M Friday. Total by Sunday for the Paul Feig directed thriller, Hidden Pictures production is $72.8M, which will be far past the filmmaker’s previous Lionsgate black comedy, A Simple Favor, which ended its stateside run at $53.5M.

    MARTY SUPREME, from left: Gwyneth Paltrow, Timothee Chalamet, 2025. © A24 / Courtesy Everett Collection

    A24’s Marty Supreme from Josh Safdie will pass the final domestic take of the Safdie brothers’ previous 2019 movie together, Uncut Gems ($50M), this weekend, which is the distributor’s third highest grossing title at the domestic B.O. A $4M Friday will get Marty to between $9M-$10M at 2,887 sites, -39%, in its third frame and on the high end, a running total of $53.4M back in 2018.

    Fifth is Sony’s Anaconda with a second weekend of $8M at 3,509 locations, -45%, after a $3.1M Friday for a running total of $43.8M.

    Sixth belongs to Angel Studios’ David at 2,900 locations with a third Friday of $2.9M, third weekend of $7.4M, -41%, for a running total of $69.4M.

    Seventh is coming in with Paramount’s SpongeBob Movie: Search for SquarePants third weekend of $7.2M at 3,217, -35%, after $2.9M Friday for a total of $56.6M.

    The second weekend of Focus Features’ Song Sung Blue is $4.7M at 2,705 sites, -34%, for a running cume of $23.8M in 8th place. The second Friday for the Hugh Jackman-Kate Hudson Neil Diamond tribute band movie is $1.8M.

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    Anthonypauldalessandro

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  • ‘Avatar: Fire & Ash’ Heads To $214M Cume, ‘Marty Supreme’ $25M+, ‘Anaconda’ $22M, ‘Song Sung Blue’ $12M In Final B.O. Weekend Of 2025

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    FRIDAY PM UPDATE: Rainstorms in Los Angeles aren’t getting in the way of moviegoing, nor is two-to-five inches of snow in NYC as 20th Century Studios’ James Cameron Avatar: Fire and Ash will of course lead the final weekend of 2025 with a second frame around $60M over Friday-Sunday, -33%.

    That’s a better second weekend hold than 2022’s Avatar: Way of Water (-52%) which encountered fierce ice storms at the time, but nothing beats the second weekend ease of the original Avatar back in 2009, which dipped -1.8%

    With Christmas, the 4-day on Fire and Ash stands at $84M after a second Friday that stands at $22M at 3,800 theaters. Running cume by Sunday gets to $213.7M.

    By the way, we’re coming off of the best Christmas week ever post Covid with an estimated $342.3M, +10% from last year’s previous high of $311.4M (per Box Office Mojo). We’re still down greatly from 2019, -29%, which was $485.5M, but that’s when we had Star Wars: Episode IX: The Rise of Skywalker on marquees.

    Disney has bragging rights for second place with Zootopia 2, which a month after its release refuses to be penned up at 3,370 theaters. Weekend 5 is $19M, +28% for a running cume by Sunday of $320.3M. That will be $20.9M away from besting the original 2016’s stateside gross of $341.2M. As we reported earlier this week, Disney is the only major studio to click past $6 billion at the global box office.

    A24’s Josh Safdie directed Marty Supreme in 4-days will make more than Timothee Chalamet’s Christmas movie from last year, A Complete Unknown did in 5 days, $25.7M to $23.2M. Today is $6M, -37% from Christmas Day’s $9.5M for a 3-day that stands at $15M at 2,668 theaters. Don’t be shocked if it’s higher. Comp this to the previous Safdie Brothers movie, the zany gangster drama, Uncut Gems, which went wide over a 2019 5-day Christmas stretch with $18.8M. The Adam Sandler movie finaled at $50M. We already told you that the social media universe for Marty Supreme stood at 197M before opening across TikTok, X, Instagram, Facebook and YouTube; that’s with Chalamet standing atop The Sphere in Las Vegas. There was also a Marty Supreme blimp flying over Beverly Hills in further stunts.

    Fourth is a bit of a fight with Lionsgate’s The Housemaid holding in with a 3-day of $12.5M-$15M (4-day of $16M-$18M), after a Friday in the $4.8 – $5.2M range. On the high-end that second weekend would rep a -21% hold. Angel Studios’ David might ward off Amanda Seyfried and Sydney Sweeney with a $14M second weekend, -36%, after a second Friday of $5M. Sony’s Anaconda is sneaking up behind with a 3-day of $13M, 4-day of $22M, after a $5M Friday as well at 3,509 theaters. The 4-day start on the year’s previous most prolific comedy Naked Gun was $18.4M. Very good start here for Anaconda especially in regards to its budget of net $45M (Marty Supreme cost $65M before P&A).

    Anaconda‘s social media was propelled by Jack Black’s 48.7M fans along with Selton Melo’s 9.9M, however, Paul Rudd is off the grid. Social media analytics corp RelishMix says, “Convo runs positive for Anaconda when the crowd leans into self-awareness and comedy as the point, not the apology. There’s a clear pocket of viewers clocking the film as a deliberate tonal pivot, closer to Tropic Thunder, Jumanji, or Be Kind Rewind than creature-feature horror. These comments frame the cast as a feature, not a flaw, treating Black and Rudd as genre translators rather than sacred-cow desecrators. Nostalgia works when it’s playful, not reverent, and that’s where enthusiasm clusters. Humor-forward fans applaud the meta energy, soundtrack drops, and Christmas counter-programming angle. ‘Anaconda meets Tropic Thunder!!! I love it!’ and ‘Whoever thought of making Anaconda comedy action genius move!’ anchor this side of the conversation, often comparing it favorably to the original’s camp reputation rather than its scares.”

    Paramount’s SpongeBob Movie: Search for SquarePants at 3,570 sites is seeing $3.4M in its second Friday, 3-day of $10M, -36%, for a running total of $36.9M.

    Focus Features’ Song Sung Blue at 2,587 theaters is seeing $2.6M today, $7.6M for the 3-day and $12M for the 4-day. Rotten Tomatoes audience score is super at 98% certified fresh. Net production cost for the Craig Brewer directed title is $30M. The social media universe for the Kate Hudson and Hugh Jackman movie counts 128M, which is under A Complete Unknown‘s 187.4M. Still, there’s Jackman pushing the pic to his 80.5M followers and Hudson to her 23.1M.

    Observes RelishMix: “Convo on Song Sung Blue lands strongest with audiences craving warmth, nostalgia, and communal musical comfort. The positive thread treats this less as prestige cinema and more as a feel-good jukebox experience, repeatedly framing schmaltz as intentional and welcome. Jackman’s musical credibility is defended through comparisons to The Greatest Showman and earlier stage-forward performances, while Neil Diamond’s catalog is viewed as emotional shorthand that does the heavy lifting. Fans lean into sing-along energy, cross-generational memory, and sincerity over subtlety, positioning the film as counter-programming to darker or more ironic releases. The tone here is knowingly corny but emotionally confident. ‘I think we all need a movie like this right now,’ and ‘Cheesy but also brilliant and heartfelt, perfect for Neil Diamond,’ neatly capture the pro argument.”

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    Anthonypauldalessandro

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  • The Housemaid’s Director Says Sydney Sweeney & Brandon Sklenar’s Sex Scenes Were Filmed Like ‘Stunts’—’You’re Just Yelling, ‘Have an Orgasm!’

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    The Housemaid is 2025’s latest thriller film that’s been adapted from a very popular BookTok book by Frieda McFadden.

    Nina and Andrew Winchester (Amanda Seyfried and Brandon Sklenar) hire Millie (Sydney Sweeney), a newly released woman from prison, as their new maid. Andrew and Millie have an extremely spicy affair once Nina is kicked out and heads out of town with their daughter, Cecelia. The two are seen having sex everywhere in the Long Island home, as well as in a hotel room where Andrew sensually undresses Nina.

    It’s only after they have sex that Millie discovers the terrifying truth behind Andrew’s actions. We won’t spoil it for you here. (You can read this if you want to learn more about the ending.) But what happened when the two actors were filming those steamy scenes?

    Director Paul Feig revealed to Cinema Blend that he got the advice from intimacy coordinator Lizzy Talbot to think of filming them as “stunt” scenes in which he thought was “the key.” “Well, I mean directing a love scene, you know, a sex scene if you will, is always uncomfortable for me,” he told the outlet. “But we had a great intimacy coordinator.”

    Related: How Did Andrew Die in The Housemaid Book vs Movie? The Real Reason Author Freida McFadden Thought the Film Had a ‘Better’ Ending

    Feig also explained that the actors had no problem with filming the scenes. “But they were so great,” he continued. “I mean, the two actors who did it, no spoilers, were just so comfortable with it and they were cool. I was the old hung up guy in the room. But by the end of shooting you’re just yelling, you know ‘Have an orgasm!’”

    Feig also emphasized his feelings while filming in an interview with The Times. “There’s nobody more uncomfortable with it than this guy,” he told the outlet, while pointing at himself. “But Syd and Brandon are so body positive that they thought it was hilarious that I was so uncomfortable. She’s very proud of how she looks, and you should be.”

    “There are so many people I’ve encountered where you’re fighting against their insecurity. She would say, ‘I love women’s bodies,’ and that’s so healthy,” he elaborated. Feig also emphasized that intimacy coordinators are “the greatest thing that’s happened in Hollywood.” He added, “When you have a 63-year-old man amongst all these beautiful young people, you don’t want to be the pervy porn producer, telling people to do stuff.”

     Sweeney previously opened up to W Magazine that she feels pretty comfortable showing herself bare on camera. “I don’t get nervous,” she said. “I think that the female body is a very powerful thing. And I’m telling my character’s story, so I owe it to them to tell it well and to do what needs to be done.”

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    Lea Veloso

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  • Sydney Sweeney’s The Housemaid Is Best Enjoyed Knowing This Beforehand

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    The psychological thriller The Housemaid is out now. Ahead of checking out the newest Sydney Sweeney and Amanda Seyfried movie, there are some things fans might want to know beforehand.

    The new movie “plunges audiences into a twisted world where perfection is an illusion, and nothing is as it seems.” The film follows the story of Sweeney’s character taking a job as a live-in housemaid for a wealthy couple, and quickly finding things aren’t as they seem.

    What should you know before seeing The Housemaid?

    One major thing to know about The Housemaid is that the film features a heavy dose of sex and nudity. While this might not turn away everyone, those who are averse to this kind of stuff in movies might want to be aware. As World of Reel notes, the film culminates in an ending that goes “all out, exploding into a completely bonkers finale full of sex, nudity, violence, and backstabbing.”

    The Housemaid also features a litany of twists and turns, with nothing as it seems for Sydney Sweeney’s character and the job she takes in the movie. For those checking out the movie, expect less of a super serious drama and more of a movie that looks to have you questioning what might happen next.

    In ComingSoon’s review, Jonathan Sim noted that “tonally, the film grows increasingly twisted as it moves toward its climax, with Sweeney leaning beautifully into moments of dry, deadpan humor that cut through the tension without deflating it. One standout sequence near the end briefly places the audience one step ahead of a character, which is a clever, cruel choice that amplifies the terror and leaves you bracing for impact.”

    “By the time The Housemaid reaches its final moments, it has fully committed to its darkness, delivering a conclusion that is bold, shocking, and likely to leave audiences speechless. This is a sleek, smartly constructed thriller that understands how to manipulate expectation, perspective, and fear.”

    The film, which currently sits at an 77% on Rotten Tomatoes, leans fully into its campy aspects, with fans responding positively to the change of pace. If you’re into less serious movies that go fully bonkers, then The Housemaid may be for you.

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    Anthony Nash

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  • ‘Avatar’ Box Office: James Cameron’s Epic Firing Up $85M-$95M U.S. Bow, Crosses $100M Globally

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    James Cameron‘s highly anticipated Avatar: Fire and Ash delivered an opening day of $36.5 million, putting the sci-fi epic on course for a domestic debut in the $85 million to $95 million range. Friday’s haul included more than $11 million in previews.

    Overseas, where it began opening in select markets midweek, the 20th Century and Disney tentpole has already grossed $100 million, including a stellar opening day of $17 million in China. The male-skewing film is earning strong audience exits — including an A CinemaScore, in line with the two previous films — despite its running time of more than three and a quarter hours.

    Avatar: The Way of Water opened to $134 million in 2022, but there was a tremendous pent-up demand, considering the first Avatar debuted all the way back in 2009. Also, Way of Water had nine full days of play before the Christmas holiday, while Fire and Ash had six days, with the theory being that some audiences will wait to see the movie until preparations are done and presents unwrapped.

    The first Avatar was all but lambasted when it opened to $77 million in 2009, but the angst soon ended as the film picked up momentum on its way to becoming the top-grossing film of all time at the worldwide box office with an astounding $2.97 billion, not adjusted for inflation. It still holds that honor, followed by Marvel’s: Avengers: Endgame and two more Cameron titles, Way of Water and Titanic.

    Avatar: Fire and Ash isn’t the only movie pulling up an early seat at this year’s holiday feast.

    Also opening nationwide over the Dec. 19-21 weekend are Paramount’s family pic The SpongeBob Movie: Search for SquarePants, which is looking at a muted debut in the mid-teens, while Lionsgate’s R-rated thriller The Housemaid, starring Amanda Seyfried and Sydney Sweeney, is in a close race for second place. The film, a throwback to the 1990s, will be a key test for Sweeney following her failed Oscar hopeful, Christy, and is hoping for a launch in the $20 million to $24 million range after earning $8 million on Friday.

    The Angel Studios animated faith-based feature David is also tracking in the $20 million to $23 million range after earning $8.3 million on Friday. Based on Saturday sales, it presently holds a lead over Housemaid, which would be the best opening ever for Angel Studios, home of Sound of Freedom. David earned an A CinemaScore.

    Another round of films opens Christmas Day, including Sony’s Anaconda reboot (no one is quite sure where it will land). On the prestige side of the aisle, Oscar hopefuls Marty Supreme, starring Timothée Chalamet, and Hugh Jackman/Kate Hudson starrer Song Sung Blue also open nationwide.

    This story was originally published Dec. 19 at 10:21 am.

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    Pamela McClintock

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  • ‘The Housemaid’ review: Everyone is having a lot of fun, just don’t be a fake blonde in the Winchester house

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    Paul Feig’s take on Freida McFadden’s The Housemaid is a fun time at the cinema. And one you want togo into as in the dark as possible, especially if you haven’t read McFadden’s novel yet.

    Millie Calloway (Sydney Sweeney) is looking for a job an ends up at the home of Nina Winchester (Amanda Seyfried). But not everything is as it seems. Nina has many labels thrown around about her, her husband Andrew (Brandon Sklenar) is a good father and a patient husband, and everything is a picture perfect look into their life. As is always the case, nothing is as it seems.

    Feig has a brilliant way of bringing humor and mystery together to allow an audience to forget about what is standing out as odd in order to let themselves get wrapped up in the story. Nina has a past that has Millie on edge and Millie herself is a mystery.

    All of it works in that Paul Feig sort of way too. If you’re a fan of A Simple Favor and its sequel, Another Simple Favor, then you’re in for a treat with The Housemaid. And it is somehow even funnier and more alluring than Blake Lively in three piece suits, an impossible thing to top.

    Whenever there is a new mystery film, fans like to see if they can figure out what is going to happen and Feig has given us a great new entry into the genre. Especially if you’re a fan of this cast. But more than the twists and the turns, The Housemaid harkens back to the thrillers of the 80s and 90s that made so many of us love this genre to begin with.

    The kind of movies that keep you on the edge of your seat

    It is almost hard to talk about movies like The Housemaid without spoiling things. And maybe that’s a good thing on the marketing side of things. It’ll surely get people into theaters because they want to know what is going on with the film. But more than that, Feig has found a way within this genre to bottle female rage in a delicious way that makes fans excited to see his latest films.

    The Housemaid is the kind of movie that captivates its audience. It isn’t reinventing the genre but it doesn’t have to. You’re just so taken by Millie and Nina’s dynamic that it is enough to keep you engaged. It helps that both Seyfriend and Sweeney master the art of the quiet tension between these two characters while still making them engaging and women to root for.

    I do think I could watch a million of Paul Feig’s films like this. They feel oddly like a comfort as you watch them, even with how tense and horrifying parts of them can be. And with The Housemaid, you almost feel the need to cheer for the character’s you are on this journey with.

    The Housemaid is a wild time but well worth the trip to the cinema for. It hits theaters on December 19.

    (featured image: Lionsgate)

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    Rachel Leishman

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    Rachel Leishman (She/Her) is the Editor in Chief of the Mary Sue. She’s been a writer professionally since 2016 but was always obsessed with movies and television and writing about them growing up. A lover of Spider-Man and Wanda Maximoff’s biggest defender, she has interests in all things nerdy and a cat named Benjamin Wyatt the cat. If you want to talk classic rock music or all things Harrison Ford, she’s your girl but her interests span far and wide. Yes, she knows she looks like Florence Pugh. She has multiple podcasts, normally has opinions on any bit of pop culture, and can tell you can actors entire filmography off the top of her head. Her current obsession is Glen Powell’s dog, Brisket.

    Her work at the Mary Sue often includes Star Wars, Marvel, DC, movie reviews, and interviews.

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