Horror romp. So this is about a young boy (Judah Lewis) who is probably too old to have a babysitter. That said, he has a ridiculous hot babysitter (Samara Weaving) who comes over when his parents go away for the weekend. He hears a rumor from a friend about what babysitters do after everybody has been put to bed, so he stays up to find out for himself. It is not even close to what he is expecting, and things quickly take a turn for the worse. I watched this almost on a whim, seeing a positive tweet about this (I know, I know, a tweet of all things), and with it being readily available on Netflix streaming, I rolled the dice. If you’re a fan of fun horror, this needs to be on your radar.
And it takes next to no effort to watch.
What was even better for me, personally, is the happy accident that I somehow managed to miss that this was a horror movie. When this kicked into gear, it had an extra punch that floored me, because it felt like the rug had been pulled out from underneath my feet in the best way possible. This is also the return of director McG on a small scale, and I think that this is a good thing. This is not a big movie, and if you want to see what a director is truly capable of, you take away the big Hollywood budget and force them to get creative with less. This is a movie that is better than it should be. I don’t personally expect much from most straight to streaming offerings, but that’s not to say that there aren’t diamonds in the rough. This has both energy and personality; The Babysitter is a horror movie where your protagonist doesn’t make dumb decisions, and this is just an adolescent boy we are talking about here.
Just like you, I’ve seen countless horror movies where fully grown adults make the most boneheaded choices in the heat of the moment.
I like the entire supporting cast in this as well, from Leslie Bibb to Ken Marino to even Chris Wylde who always catches my eye whenever he so rarely pops up. The movie does a good job at setting itself up for later and showing you small things that you brush off initially, but then play a bigger role when everything starts to go down. I had to be a bit of a volume jockey, though, as this does alternate between being soft with the dialogue and very loud with the kills. There is a fine line you have to walk when your story is written to have sexual tension between an adult and a child, and I think this pulls it off and gives you a good time in doing so.
The Babysitter (2017) ***1/2
– Critic for Hire