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    Movie Review

    Beastie Boys Story relives rap group's history in unique style

    Alex Bentley
    Apr 24, 2020 | 12:10 pm
    Beastie Boys Story relives rap group's history in unique style
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    For many people who grew up in the 1980s and ’90s, the Beastie Boys had as much influence on the music world as any other superstars. Owing to their unique style and chosen genre, they weren’t consistent hitmakers, but when they delivered something great, it was as memorable as any other song out there.

    Beastie Boys Story, the new documentary by director Spike Jonze on Apple TV+, is predictably unlike any other music documentary you’ll ever see. There are no talking heads giving their opinions on the band, coupled with clips of the band through the years. Instead, band members Mike “Mike D” Diamond and Adam “Ad Rock” Horovitz are shown telling the Beastie Boys’ story themselves live on stage over the course of several nights at the Kings Theatre in Brooklyn.

    Yes, they show clips of themselves and others over the course of their 30+ year career, but they’re delivered in a style that’s designed to maximize entertainment rather than just recite the facts. Hearing the story straight from the surviving band members’ mouths — founding member Adam “MCA” Yauch died of cancer in 2012 — instead of in a traditional documentary style makes the film immeasurably more impactful.

    Diamond and Horovitz are relatively buttoned down in their presentations, but that’s to be expected of two men who are now in their mid-50s. It’s also a great juxtaposition to their admittedly immature younger selves, and the film is full of them calling out themselves and Yauch for being doofuses or disrespectful during their early years.

    One’s reaction to the film will likely lie in how invested he or she is in the band itself. For hardcore fans, there likely aren’t any huge revelations. For those, like me, who have always enjoyed the band’s music but never became superfans, there are multiple tidbits that are, if not shocking, hugely interesting.

    That includes how the band grew to despise their most famous album, License to Ill, with joke songs like “(You Gotta) Fight for Your Right (To Party)” and “Girls” taking on a life of their own when the band became successful. Or how Yauch was the driving force of the band, leading them in directions that both defined their uniqueness and maintained their popularity through the years.

    Given that Diamond, Horovitz, and Jonze are the ones putting on the show that was turned into the movie, there is no “other side of the story.” So when they detail how Russell Simmons and Rick Rubin, the founders of the Def Jam record label, cheated them out of royalties for License to Ill, it is told without any perspective from Simmons or Rubin. That information would be valuable to know, but wouldn’t necessarily fit in a film like this.

    In the end, it’s the reliving of the songs and how they were created that carry the day. “Fight for Your Right,” “No Sleep till Brooklyn,” “So What’cha Want,” “Sabotage,” “Intergalactic,” and more remain as invigorating as when they were first released, even if we only get to hear snippets of most of the songs.

    Fans like the ones who packed the Kings Theatre will love Beastie Boys Story the most, but the personalities of Diamond and Horovitz and stories they tell are enough to draw in even non-fans. It might have unimaginable 34 years ago, but the Beastie Boys are elder music statesmen worthy of veneration in a great documentary like this.

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    Beastie Boys Story premieres on Apple TV+ on April 24.

    Beastie Boys - Mike Diamond, Adam Yauch, and Adam Horovitz - in their early years.

    Beastie Boys - Mike Diamond, Adam Yauch, and Adam Horovitz - in Beastie Boys Story
    Photo courtesy of Apple TV+
    Beastie Boys - Mike Diamond, Adam Yauch, and Adam Horovitz - in their early years.
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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.

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    The Housemaid is now playing in theaters.

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