Skye McCole Bartusiak, the Houston actress who shot to stardom as Mel Gibson's youngest daughter in the 2000 movie, The Patriot, was found dead in her home Saturday. She was 21.
According to news reports, she died in her sleep, although the cause of death has not been determined. Her mother, Helen McCole Bartusiak, told CNN that Skye had been suffering from epileptic seizures in recent days.
"We think she had a seizure and choked and nobody was there," Helen McCole Bartusiak said.
The actress's boyfriend found her in the garage apartment adjacent to her parents' home where she lived. Her mother started cardiopulmonary resuscitation on her daughter before paramedics arrived.
Bartusiak was only 7 years old when she won the role opposite Gibson in the hit movie about the Revolutionary War. As a child actor, she also appeared in The Cider House Rules, with Charlize Theron and Tobey Maguire, in 1999 and Don't Say A Word, with Michael Douglas, in 2001.
She also appeared on network shows like House, Lost, CSI and 24, where she had a recurring role at Megan Matheson.
In recent years she has starred in short films, including a 7-minute comedy called Frame of Reference. She had been preparing to produce and direct her first feature film, her mother said.
A family friend told Deadline that she was a "brave and caring young woman" who "is deeply missed by her family and friends."
Funeral arrangements are pending.
Skye McCole Bartusiak, 21, died in her Houston home.
skyemcolebartusiak.com
Skye McCole Bartusiak, 21, died in her Houston home.
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.
