Displaying items by tag: Brandon Sklener

THE HOUSEMAID

US, 2025, 131 minutes, Colour.

Sydney Sweeney, Amanda Seyfried, Brandon Sklenar, Michele Morrone, Indiana Elle, Elizabeth Perkins.

Directed by Paul Feig.

Movie thriller fans may remember that titles which included maid or housemaid usually had sinister goings-on in the household. And audiences venturing out to see this version of the housemaid will not be entirely wrong. But, not in the way they might have expected.

The film opens with a young woman, Millie (Sydney Sweeney, anyone but You, Christie, Immaculate), driving up to a lavish mansion outside New York City for an interview with the lady of the house, Nina (Amanda Seyfried). Millie is warmly, exaggeratedly, made welcome, instantly hired, accommodation in the house, care for Nina’s daughter, anticipation of meeting her successful husband, Andrew. So, the opposite of sinister.

But…, the next day…

Millie really needs the job. She is on parole from a long sentence (explained later in the film), and is at pains to do the best she can. But, of course, from day to day, it is not enough, and it is Nina who is the character with the bizarre behaviour. Her charming husband, Andrew (Brandon Sklear) tries to support Milly. There is a complication in  Nina’s little daughter obviously disliking Millie.

Just as the audience thinks the film is going in a relentlessly predictable direction, it certainly doesn’t!, Into the expected, there are all kinds of developments, some flashbacks, some past explanations, some twists and revelations.

Which means, of course, that any review has to stop any plot indications at this moment – except to warn audiences to expect the unexpected.

The film offers two tour-de-force performances by the two leading actresses. Brandon Sklenar is tall dark and handsome – and the object of envious gossip by the affluent mothers of the local PTA. Elizabeth Perkins has a cameo role as his haughtiest and most demanding of mothers.

As it turns out, The housemaid is a much more interesting and involving thriller than we might have anticipated.

1. The title and expectations? The focus on the maid, the focus on the house, the owners?
2. The mansion, the exteriors and the grounds, the vast interiors, furnishings…? The contrast with the parole office? The ballet school, the shops, the Broadway theatre, the lavish hotel? The funeral ceremony? The atmosphere for this kind of thriller? Atmospheric score?
3. Audience expectations, the role of the maid, the onus? The predictability of the plot development? The sudden twist, unpredictable? And the building up of twists and explanations? The climax and the solution?
4. The focus on Millie, her arrival, the car, the mansion and the grounds, the interview with the Nina, her exuberance, instantly hiring her, the tour of the house, introduction to her daughter, the upstairs room and the need of the window opening, the deadbolt and a key? The arrival of Andrew? The visit of his stern mother? And the opening sequences reinterpreted in the light of later explanations?
5. Millie, revelation of the parole, the interviews, her need for a job, the accommodation, staying with a family? The later revelation of her crime, the man attacking the student, her killing him? The sentence and her serving it? Her behaviour in the house, cleaning, cooking, the hostility of the young daughter, the gradual revelation of Nina and her temperament, harsh commands, contradictory commands? Writing her journal?
6. Andrew, his taking her side, comforting her, the expenses and his repayment? Nina giving her the lavish clothes? Again in the light of later explanations?
7. Nina, her erratic behaviour, moods, angers, devotion to her daughter, the treatment of Millie, picking up her daughter, the clothes, the possibility firing, Millie cleaning, Nina relenting, the support of Andrew? Nina and the notes for her speech, accusing Millie and throwing them out, the meeting with the mothers and their gossip, their liking Andrew? Millie hearing everything?
8. Nina, being away with her daughter, the booking for the theatre, the hotel, Andrew persuading Millie to go, the sexual encounter? The phone, the fact that Nina was seeing everything? Her return, Andrew ordering her to leave? Her storming away?
9. Nina, meeting with her daughter, composing of the letter for her to read, the narration and the new interpretation of what had happened, the flashbacks, her pregnancy, at the office, the humiliation, Andrew supporting her, the relationship, the wedding, Andrew’s mother? The issue of pregnancies, Andrew’s wish, the buildup to the clashes between them, a different interpretation of what had happened, the issue of her hair and the colour roots, his locking her in the attic, the transformation of his character, abusive, self-centred, the demand for the hairs and follicles, making Nina do it again, her desperation?
10. The revelation of Nina, knowing all about Millie, the plan,? Her intentions?
11. Millie, Andrew supporting her, the issue of the crockery, his mother, the bonding between them? Her infatuation with Andrew?
12. Andrew turning on Millie, locking her in the attic, the same treatment as for Nina, his demand about cutting herself? Doing it? The gardener at the door, Millie dropping the plates, packing, not washing the pieces, the bag, Andrew giving her the piece to cut herself?
13. His unpleasant character, the taunts, self-centred? Millie having the knife, her attack on him, locking him in? Her demand, the issue of the front tooth and his charm for women, the pliers, pulling it out?
14. Nina, coming back, to rescue Millie, for the truth? Her mistake, unlocking the door, Andrew escaping, pushing Nina down the stairs, the meeting of the two women, their collaborating, Nina urging Millie to run, the confrontation of Andrew, pushing him over the banister, his death? The help of the gardener to tidy the situation?
15. The police, the interrogation of Nina, her plausible story, the police officer and the story of her sister, Andrew destroying the sister, the policewoman and the wound in the neck, creating a plausible accidental scenario?
16. The funeral, Andrew’s mother, her speech about teeth, the mothers and their commentary and gossip?
17. Millie, at the funeral, Nina and her daughter leaving, Millie applying for the job, needing giving the recommendation? The new wife talking about difficulties with her husband…, The knife…?

DROP

US, 2025, 95 minutes, Colour.

Meaghann Fahy, Brandon Sklenar, Violett Beane, Jacob Robinson, Reed Diamond, Gabriele Ryan, Jeffery Self.

Directed by Christopher Landon.

Drop is a brief title for a brief, 90 minutes, mystery thriller. In 2024, M. Night Shyamalan had success with a brief title, Trap, tension and suspense in one location. And that is the case with Drop, quite a complex plot, devised by writer-director, Christopher Landon (very successful with the Paranormal Activity series and the two Happy Death Day thrillers).

The film opens with a violent prologue, an abusive husband confront his wife, his death. And then it emerges that the wife is a psychologist, interviewing clients, years passing and almost over the trauma of her husband’s death. She has a young son, entrusts him to her sister as she goes out for a date, a man she had been texting, a rendezvous at an exclusive Chicago restaurant, situated on very high storey (the location for a climactic vertigo-like situation).

Most of the action takes place at the restaurant, Violet, Meaghann Fahey, waiting for her date, in the meantime, some very good cameos to create the atmosphere, from the restaurant’s pianist, the hostess,  an oddball waiter on his first job, a lonely older man at the bar waiting for a blind date. Then her date, a photographer, Henry Campbell, Brandon Sklenar, arrives. So far, so ordinary. But, then the drops, DigiDrops, appear on Violet’s phone, increasingly sinister, increasingly mysterious, certainly disturbing for Violet and, audience empathising, disturbing for the audience as well.

A reviewer has to resist the temptation of elaborating on plot details. No spoilers. Suffice to say for review that there are quite a lot of twists, the realisation that the drops are originating in the restaurant itself, that there is surveillance going on, that not only is Violet being targeted, but also her date.

There will be a final revelation, the identity of who is sending the drops, the complex motivation in Violet’s response, using her wits to turn the tables. That vertigo -like climax.

And there is further drama with the discovery of masked gunmen at Violet’s home, threatening her sister and son, a second dramatic climax.

Whether this is realistic or not, whether the plot entirely make sense, is not the point. It is the immersing of the audience in this 90 minutes of tension.

1. Drop, the tag for the communications, the impact on Violet? The momentum of the drama?
2. The opening in the mood, the violence, women targeted, Violet and her fear, her husband and his viciousness, the baby? Setting the tone? The later reprisal of the scene, Violet blamed for killing her husband, his taunts, his killing himself?
3. Violet and her work as a counsellor, her client, the techniques, the importance of self-image and confidence? For Violet herself?
4. Her sister, encouraging her, the scenes with Toby, the toy truck (and its being crucial to the climax)? Jen and her comments on Violet’s dresses and make up? Violet and the correspondence with Henry over the months?
5. The glimpse of Chicago at night, the buildings, the lights? The restaurant, the clientele, the bar, her nervousness, having the drink, the encounter with Richard, his age, smiles, nervous, his date and her arrival? Henry arriving? The table, the meeting, the hopes for the date?
6. The Drop experience, the messages on the phone, and her concern about Toby? The messages coming through, her reaction, showing Henry, taking the issue lightly? The continued messages, the technique of displaying them right across the screen rather than close-ups of the phone?
7. The pressure on Violet, her fears, the threats to Toby and Jen, Violet and growing anxiety, the change of table, going to the restroom? The issue of spiking the drink? Her being watched? The technology and its having to come from within the restaurant? Cara and her friendliness at the bar, conversation, support, the issue of the drinks, violet surreptitious with the poison? Getting the drinks, Henry going to the bar? His drinking?
8. Violet and her looking at the suspects, sinister-looking men, then their dates arriving, the pianist, the comic interludes with the earnest waiter? The tension?
9. Richard, his date leaving, his smiles, his approaching Violet, the revelation of the truth, Henry as a star witness, the target for killing? Richard and his taunting of Violet? The phone, the killer, the camera in the home?
10. Violet turning the tables, talking with Richard, his dessert, her poisoning him? The gun, the anxiety of the guests, the struggle, the shooting of the window, the draft dragging him out, his death? Dragging Violet out the window, Henry pulling her in?
11. The violence, Henry being wounded, Cara being wounded? Violet leaving, the desperate drive in the car, the traffic, in the house, the killer, masked, the threats, Jen and her tactics, being shot? The risk to Toby? Violet in the house, the confrontations, the violence, the toy truck and the gun, Violet shooting?
12. The visit to the hospital, Jen and hospital care, and the bonding with Henry?

IT ENDS WITH US

US, 2024, 130 minutes, Colour.

Blake Lively, Justin Baldoni, Jenny Slate, Brandon Sklenar, Alex Neustaedter, Hasan Minhaj, Kevin McKiddc, Amy Morton, Isabela Ferrer, Emily Baldoni

Directed by Justin Baldoni.

At first, a glossy romantic tale. But, ultimately, a challenge, a drama of domestic violence. In fact, during the final credits, there is website information for any of the audience disturbed by the theme and the treatment.

The cinema staff member who gave me my ticket told me she had read the novel and was very much looking forward to seeing the film. The novel. Written and self-published in 2016 by Colleen Hoover, indicating that aspects of the plot were influenced by her parents’ experience, the book became a “must-read” when promoted on social media, especially on Tik-Tok. Then the author found a publisher and further novels. And a readership of millions.

And, now, It Ends with Us has become a box office success, $150 million in two weeks and not just in the United States, very popular in Australia.

This is a film very much geared towards the female audience. But, it also targets the male audience, challenging both. So, the female audience identifies with the central character who plans to open a flower shop in Boston – with her not so subtle name of Lily Blossom Bloom!. Her father has died, the liver something of a local celebrity in his small Maine town, her mother wanting her daughter to the funeral eulogy, to find five good things to say about him. She can’t. She doesn’t. She has left the town with memories of parental domestic violence and a happy, sad memories of a long past encounter with a young man, Atlas.

Lily is played by Blake Lively.

After the funeral, quietly reflecting on a rooftop, she watches a rather dashing type, thinking himself alone, indulging in a temper tantrum. They talk. She can’t believe he is a neurosurgeon, Ryle, and at first, neither can we. But he is.

There follows a story of growing friendship that gradually transforms into love. Some have found this part of the film too glossy, but it is nicely pleasant entertainment, Lily and some reconciliation with her mother, finding a best friend in Ryle’s sister (Jenny Slate). Ryle is played by Justin Baldoni who directed the film.

Then, sudden alarming situations arise, drama, melodrama, domestic violence, physical, psychological, apologies, failure, all complicated by pregnancy, birth, mother and child.

There have been different perspectives voiced by critics and audiences, too soft on the one hand or very important on the other. But, for an Australian audience in 2024, the statistics on cases this year of men killing women in domestic violence is alarmingly large, averaging a death the week.

It Ends with Us brings these stories to popular attention – and challenge.

1. The popularity of the original novel, its influence on readers, romance novel, a novel about domestic violence?
2. The title, the reference to Lily and the man she loved, but finally Lily and her daughter?
3. The action in Plethora, Maine? Homes, streets, buses, the funeral, atmosphere? The contrast with Boston, high-rise, vistas of the city, apartments, hospitals, the flower shop and its development, clubs and restaurants? The musical score?
4. Lily’s story, the opening, her mother’s anxiety, her father’s death, her mother’s pressure on her to give the eulogy, five points in his favour, Lily going back to her old room, her memories, the ceremony, her standing at the lectern, not saying anything, walking out? Audience curiosity about her father?
5. The insertion of the flashbacks, her age, at home, seeing Atlas, squatting, stealing the food, on the bus, her buying the food and leaving the bags, his speaking to on the bus? Her standing up and kissing him, the reaction? The friendship, the bond between them, the sexual relationship? Her father catching them, his ousting Atlas? The separation from Atlas, his going to the military, disappearing?
6. Lily’s mother, anxious, the phone calls, the visit to Boston, meeting Ryle, the revelations about her husband, visualised, his domestic violence, yet her loving him?
7. Lily, back to Boston, on the roof, Ryle and his violent outbursts, kicking the chair, then seeing her, the conversation, on the ledge, the to and fro of the conversation, his flirting, her challenging him?
8. Lily, the purchase of the shop, cleaning, Allysa arriving, the conversation, friendship, getting to work, Alysa and her husband, the friendliness, the discovery that Ryle was Alsysa’s brother?
9. The film’s development of the relationship between Lily and Ryle, his work as a neurosurgeon, her initial disbelief, his skills, his charm, continued attentions to Lily, her response, as Friends, gradual breaking down of the barriers, moving in, their life together?
10. Lily, the prosperity of the shop, Allysa and the friendship? Alyssa’s pregnancy?
11. Lily’s mother, coming to Boston, meeting Ryle, charmed by him? The irony that Atlas was at the restaurant, Lily disconcerted, talking with him, not telling Ryle?
12. The eventual proposal, Lily accepting, the ceremony? Her mother’s anxiety of not being there?
13. Ryle and his charm, the initial violence, his suspicions, the visit to the restaurant, Lily and her anxiety, talking with Atlas, Ryle following, the fight? And Atlas giving Lily his phone number, concealed and her phone? Ryle’s discovering it, the confrontation, his violence, pushing down the stairs?
14. At the hospital, with Atlas, discovering she was pregnant?
15. The consequences, support from Alisa, condemnations of Ryle, the stories anxiety, six-year-old, with the gun, the death of his brother? Consequent anxieties?
16. The separation from Ryle, his visits, with the gynaecologist, discovering it was a daughter, letting Ryle be present, at the birth?
17. Lily then assertive, love for her daughter, the friendship with Ryle, but the divorce?
18. The consequences, the years passing, meeting Atlas again, possibilities for a future?
19. The credibility of Ryle and his violence, domestic violence, cruelty, denials, repentance? And the message of the film about domestic violence?