![]() In fact, you could completely remove the cult/satanic subplot from the film and nothing would change. The Babysitter also fails to deliver on its promise: the babysitter is somehow in possession of the book of the devil and it’s never used. McG comes from a music video background and that’s exactly what is on the screen – everything looks stage-y, with the empty streets lit up like a studio backlot where they would film “Desperate Housewives”. She’s transcendent and could carry any film on her shoulders…only McG instead opts to turn the camera towards her unbearable knucklehead “Scooby-Doo” friends who bloat the second half of the film with a tiresome game of cat-and-mouse that’s dreadfully boring.Įven worse, The Babysitter looks like shit. Speaking of, Weaving’s performance dominates the first half of the film (she also steals the show in Joe Lynch’s Mayhem). ![]() It’s a bummer, too, because the chemistry between Lewis and Weaving in the first half of the film is dynamite. Always trying too hard to be hip and cool (boasting a ridiculous soundtrack that would make a ’90s horror film jealous), McG turns Brian Duffield‘s Blacklist screenplay into a bad dad joke (with handjobs and all) that’s in the middle of a midlife crisis. This on-the-nose coming-of-age slasher is a buffet of gore that’s plagued by an inconsistent tone. Now he must survive a night full of first kisses, first broken hearts, and first encounters with homicidal maniacs (played by Bella Thorne, Andrew Bachelor, Robbie Amell, and Hana Mae Lee). One evening while Bee is babysitting, Cole witnesses the unthinkable. She’s cool and awesome in all the ways Cole is not. Originally a New Line Cinema production, The Babysitter follows Cole ( Judah Lewis), who is madly in love with his babysitter Bee ( Samara Weaving). Netflix has given you two options this past Friday the 13th, and your best bet is to watch David Fincher’s incredible “Mindhunter” series over McG‘s absurd slasher The Babysitter.
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