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    Movie Review

    Gold has plenty of shiny stars (and an ugly McConaughey) but doesn't quite glitter

    Alex Bentley
    Jan 27, 2017 | 10:12 am
    Gold has plenty of shiny stars (and an ugly McConaughey) but doesn't quite glitter
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    One would imagine that one of the greatest pleasures for any actor is the ability to inhabit the world of somebody completely different from him or her. And when doing that role requires a physical transformation, the job becomes that much easier, as the person staring back at you in the mirror looks nothing like you.

    Judged just on that, Matthew McConaughey must have had a ball making Gold, in which he plays Kenny Wells, a real-life gold prospector in the 1980s on the hunt for his next big score. As played by McConaughey, Wells is balding, overweight, and has a snaggle-tooth — conditions that combine to make the notoriously handsome actor about as ugly as he’ll ever be.

    His look is indicative of the type of person Wells is, namely one desperate to restore his family’s once-good name in the mining industry. A fever dream inspires Wells to go to Indonesia to meet with Michael Acosta (Edgar Ramirez), a fellow prospector who had previous luck in the region. Their search turns up a strike, but the subsequent series of events brings both monumental highs and lows.

    The film, directed by Stephen Gaghan (Syriana), plays out like a lower rent version of The Wolf of Wall Street. Wells and his team hustle for every dollar they can get, at one point working out of a bar to save money. Cigarettes and booze are so omnipresent that you may get a contact high just by watching.

    The ever-changing prospects of Wells are relatively fun and interesting, but the story could have used a bit more speed. Gaghan and the two screenwriters spend a lot of time on minutiae that doesn’t enhance the film. Wells’ exploits are entertaining enough that a deep dive into the details of mining is unnecessary.

    Also somewhat pointless is Wells’ relationship with his girlfriend, Kay (Bryce Dallas Howard). The film is male-heavy, so she was likely included to add a bit of variety to the proceedings, but the character is so inconsequential that it’s sometimes a surprise when she pops up again. Wells’ friendship with Acosta winds up being much more memorable.

    McConaughey leaves no scene unchewed in the film, utilizing his character’s appearance for all its worth. As pure entertainment, it’s very effective, but in an acting sense, McConaughey has been much better in recent years.

    Gold works in fits and starts, but the end product is one that blares mediocrity. You could do worse, but you could also do much better.

    Bryce Dallas Howard and Matthew McConaughey in Gold.

    Bryce Dallas Howard and Matthew McConaughey in Gold
    Photo courtesy of The Weinstein Company
    Bryce Dallas Howard and Matthew McConaughey in Gold.
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    Movie Review

    Over-the-top thriller The Housemaid revels in camp, chaos, and excess

    Alex Bentley
    Dec 22, 2025 | 6:00 am
    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.

    ---

    The Housemaid is now playing in theaters.

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