The current slate of Thailand-based horror films hasn't produced much in terms of stand-out offerings ever since the classic “Nang Nak” arrived just over twenty years ago. While there's been a slew of fare released in the intervening years full of enjoyable spooks and chills, that landmark film has rarely been approached much less topped by the country's output, outside of the stellar “Krasue: Inhuman Kiss” from 2018. Now, first-time feature director Lee Thongkham offers the next great Thai genre effort with this fantastic new offering which is widely available around the world via Netflix.
A new housemaid named Joy (Ploy Sornarin) begins working in a luxurious mansion owned by Uma (Savika Chaiyadej), a wealthy woman, and Nirach (Theerapat Sajakul), her husband. They have a young daughter named Nid (Keetapat Pongrue) who is forbidden from leaving the house, and who has been diagnosed with a mental illness due to the fact she has visions of a woman around the house. Those visions are the ghost of the dead maid Ploy (Kannaporn Puangtong), who seems desperate to make contact with the new maid to help her uncover the truth about her death. But what does the new maid find out about her death, and how does she react to the truth?
There's quite a lot to like with “The Maid.” Among the better features found here is Piyaluk Tuntisrisakul and Thongkun's strong storyline that evokes an effective slow-burn approach to its shocks and scares. Featuring the early work of Joy coming to the house and meeting up with the family, seeing the interplay between Uma and Nirach against Nid, and the setup that emerges with the house being haunted, this part of the film is quite involved. Learning how Nid continually claims that the house is haunted by the former maid and her being shunned into believing the story, starts this off like a Gothic melodrama. Also given the other interactions here, with the coldness of the family and secrecy of the staff hiding something, there's an ominous piece of dread in the best ways. Added together with the interaction by Joy who's so quiet and reserved about her position and status in the house as she is trying to do her job and care for the daughter while still trying to obey her instructions, that everything seems at odds with how she comes to believe the stories about the dead maid haunting the house. These soft, subtle sequences indicate that something is there affecting the family dynamic create a familiar series of tropes that are utilized effectively.
Given this effective setup, “The Maid” switches gears in the second half to a gruesome, over-the-top bloodbath of action. Finally getting the resolution to the ghostly hauntings featuring the truth about the family relationships and affairs that come to light, this sets the stage for the resulting bloodbath that takes place at the party being held at the house. Focusing on highly gruesome and bloody deaths not just to the staff members and guests attending but the others who are unfortunate enough to be caught in the crossfire, there's a lot to like here. The build-up with the slow-burn piece of dread contrasts incredibly well with this energetic display, with Joy going through the house slashing whoever she wants for a high-energy display. The contrast is quite apparent with the change over into a wild, raucous slasher-style feature from a moody ghost-film that creates an enjoyable atmosphere and adds a fantastic quality to “The Maid.” Coupled with the fantastic effects-work on the kills highlighting this sequence rather nicely, there's a lot to like here.
There isn't much to dislike with “The Maid” but there are some drawbacks. The main flaw here is the seemingly random and unresolved storyline that comes from Joy coming to the house for revenge for something that doesn't even make sense. As there's a lot of build-up made out to whether the ghost of Ploy is real or within Nid's imagination, the sudden reveal of the motivation for the rampage comes out of nowhere and is never tied into the rest of the storyline. On top of that, none of the other supernatural events are explained at all that are nowhere close to being associated with this reveal. This all makes for a troubling time trying to piece together what's going on. The other issue to be found is the films' slow-burn approach in the first half which can be troubling for some. Not only is it rather tedious going through the trials and tribulations of the family like a Gothic-infused soap opera the way it plays out, but it's all at the cost of the film's energy. By focusing on the drama instead, it comes off like ”The Maid” is two separate films stuck together; such is the difference between the two parts. This section is also so reliant on the same tired jump-scares involving people suddenly coming across figures in the darkness, so there's a cliche series of sequences and themes throughout here which can make for a difficult immersion.
Filled with plenty of positives and not much in the way of detrimental flaws, “The Maid” is more than entertaining enough to be worthwhile for genre fans in most regards. This will easily appeal to any fan of Asian horror or are feeling intrigued by the concept.
