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    Movie Review

    Project Power dives deeper than your usual superhero movie

    Alex Bentley
    Aug 14, 2020 | 3:40 pm
    Project Power dives deeper than your usual superhero movie
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    Most movies with characters that have superpowers deal with people who either innately have their powers, like Superman or Thor, or who inadvertently gain powers through experimentation or an accident. The new Netflix film Project Power imagines a world in which getting a superpower could be as easy as taking a pill — and just as dangerous as other illicit drugs.

    Robin (Dominique Fishback) is one of a group of people who’ve been recruited by a shadowy organization to sell a new drug called Power, which claims to give its users temporary superpowers. The trouble is that a user’s power isn’t known until they actually take the drug, and many people have adverse reactions, including death.

    Frank (Joseph Gordon-Levitt) is a New Orleans police officer who’s trying to track down the leaders of the organization. He also happens to be taking the drug as a method of fighting the crime instigated by other users. And Art (Jamie Foxx) is a father on the hunt for his daughter, Tracy (Kyanna Simone Simpson), who was kidnapped by the organization for reasons that become clear as the film goes along.

    Directed by Henry Joost and Ariel Schulman (Catfish, Paranormal Activity 3 & 4) and written by Mattson Tomlin, the film deals with thornier issues than your usual superhero movie. Power as a drug is usually a metaphorical idea, but here it’s a literal one, and the concept is scary to contemplate. Few would be able to resist trying it, and — if they survived — the addiction to the resulting power would be more formidable than almost anything else imaginable.

    The characters at the center of the narrative are relatively principled, as Robin is one of the few dealers who doesn’t partake in the drug, and Frank and Art are trying to stop its distribution despite having both tried it. They appear to be rare individuals, though, with the influence of the organization being wider and more far-reaching than even they suspect.

    The action sequences mostly live up to the idea of ordinary people suddenly developing superpowers, although the impact strangely diminishes when the film goes too heavy with the CGI. One of the best sequences occurs when a woman with ice powers is stuck inside a glass enclosure as she watches a massive fight happen outside. The creativity of what’s shown and not shown during the scene is impressive.

    Fishback, Gordon-Levitt, and Foxx essentially trade off being the lead throughout the film, and each of them does well in their respective roles. Fishback is a rising star thanks to roles in The Deuce and The Hate U Give, and she shows why in this film. Neither Gordon-Levitt nor Foxx go too far afield from their usual roles, but they make the most of their time on screen.

    Project Power is the opposite of wish fulfillment of the idea of gaining superpowers. Instead, it’s a cautionary tale about what can happen if power is unchecked, and perhaps an idealization of some people always being willing and able to do the right thing.

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    Project Power is available exclusively on Netflix.

    Jamie Foxx in Project Power.

    Jamie Foxx in Project Power
    Photo by Skip Bolen/Netflix
    Jamie Foxx in Project Power.
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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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