Director Paul Feig has proved himself to be the preeminent purveyor of the finest high-camp trash one can find at the movie theater these days — and that’s a compliment. If Feig is serving up the trash, then call me a raccoon, because I’m ready to dive in.

Here’s just a sampling of the many topics Brandon Sklenar refuses to talk about: the narrative arcs of his new movie, his favorite scenes, the toughest scenes, his character’s transformation, the ending. Especially the ending.

Paul Feig 's movie The Housemaid, starring Sydney Sweeney, Amanda Seyfried and Brandon Sklenar, is an outrageous film.

The backstory: Bongino was an unusual pick for the No. 2 post at the FBI, a critical job overseeing the bureau's day-to-day affairs traditionally held by a career agent. Neither Bongino nor his boss, Kash Patel, had any previous experience at the FBI.

But the first half of the movie feels more like a straightforward drama, with only Seyfried leaning into the narrative’s camp potential. By the end, the tone shifts, and it’s no longer “It Ends With Us” but closer to the fun of “A Simple Favor,

It’s clear from the start of “The Housemaid” that all is not well in the home of Nina Winchester (Amanda Seyfried), where Millie Calloway (Sydney Sweeney) is interviewing for a job. It’s one of those far-too-large homes in which no inhabitant could possibly be happy; what remains to be seen is the flavor of their unhappiness.

There is no filmmaker who better embodies the freak-to-geek-to-peak-talent pipeline that Hollywood can offer today than Paul Feig.

Co-starring Sydney Sweeney and Amanda Seyfried, both exploring shades of over-the-top crazy, the movie supplies the juicy empty calories you may be craving.