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    Movie Review

    Selah and the Spades thinks high school is all drama and no fun

    Alex Bentley
    Apr 16, 2020 | 3:10 pm
    Selah and the Spades thinks high school is all drama and no fun
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    Movies about high school or kids of high school age are rarely experimental with their stories. They tend to deal with ideas like young love, budding sexuality, cliques, and bullying, things that are universal no matter where a person attended school. But every now and again, filmmakers attempt to stretch the boundaries of what a high school movie can be.

    That’s definitely the case with Selah and the Spades, which is set at a private school where different factions help the student body engage in vices like cheating in classes, illegal parties, gambling, and, of course, drugs and alcohol. That last vice is the purview of the Spades, led by Selah (Lovie Simone), who rules over her small kingdom with an iron fist with the help of her friend Maxxie (Jharrel Jerome).

    When a new student, Paloma (Celeste O’Connor), comes in, Selah takes her under her wing in a bid to groom her as the new leader of the Spades when Selah graduates. Her crusade, however, is complicated by the ambitions of the leaders of the other factions, a suspicious administration, and her own hubris.

    Written and directed by first-time feature filmmaker Tayarisha Poe, the film feels like a mixture between Dear White People and Heathers, although it has no interest in having fun. The usual high school film would use the presence of the factions’ vices to engage in all manner of hijinks, but those things are deadly serious in this film. More than one student winds up getting a beatdown when they don’t abide by the code of keeping the goings-on secret.

    More to the point, Poe is only truly interested in one faction – the Spades. She shows the factions meeting and interacting on multiple occasions, but everything revolves around Selah and her controlling personality. How the other factions go about their business is barely touched upon, but we get lots of details about what types of drugs the Spades sell, how they keep track of who orders what, and more.

    What the film doesn’t have is much narrative momentum. There are teases of a story, like allusions to a past incident that haunts Selah or the factions bickering about who’s really in charge. But none of it adds up to much and there doesn’t ultimately seem to be anything at stake. A moment toward the end that would be a game changer in any other film falls flat, feeling more like the status quo for these particular characters.

    Also, it’s unclear what to make of the fact that the faction called the Spades, a term that has been used as a slur toward African Americans, is made up entirely of black students. Did Poe, who herself is black, intend it as a reclaiming of the word? The film does not address any racial divisions that may exist at the school, although it’s notable that the headmaster, portrayed by Jesse Williams, is black.

    On the positive side, the majority of the actors come off well, delivering performances that never undermine the dramatic material. Simone, best known for the OWN series Greenleaf, has a cool confidence that makes Selah a force with which to be reckoned. Jerome, who won an Emmy for his role in When They See Us, makes the most of his time on screen. O’Connor and Anna Mulvoy Ten make roles that could have been one note into something much more interesting.

    Selah and the Spades is not an escapist film by any stretch, so it’s hard to say if it will have an appeal for the high school crowd or adults. But given that it’s premiering on Amazon Prime Video instead of in theaters, it might stand a chance to garner an audience looking for something new.

    ---

    Selah and the Spades premieres exclusively on Amazon Prime Video on April 17.

    Celeste O'Connor in Selah and the Spades.

    Celeste O'Connor in Selah and the Spades
    Photo courtesy of Amazon Studios
    Celeste O'Connor in Selah and the Spades.
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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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