The crush of an adventurous little boy is not who she seems to be, in McG’s newest horror comedy ‘The Babysitter’. Currently airing on Netflix, the film revolves around Cole (Judah Lewis) who is madly in love with his outrageously beautiful babysitter (Samara Weaving) Bee. She’s hot, funny, and popular. Everything a boy of his age could ever want. However, One night, in a moment of defiance, Cole secretly stays up his bedtime to discover she’s actually a cold-blooded killer who’s in a league with the Devil. He now must spend his night evading Bee’s band of vicious killers who will stop at nothing to prevent Cole from spilling their dark secret. It’s up to Cole to survive the night (and blow up a few people along the way). ‘The Babysitter’ is currently not rated, but does have scenes of violence, bloody gore, and adult language.
Many of teenage boys first loves are those temporary teenage parental units who bridge the transition from child to teenager with ease. In this regard, there’s plenty to take away from personality alone that ‘The Babysitter’ picks away at in the face of the complicities within a coming-of-age plot that adorns the film. If ‘Home Alone’ and ‘The Lost Boys’ made sweet love and were giftwrapped with a blessed child, that child would be McG’s newest film, and for my money, ‘The Babysitter’ works because of its streaming release that smooths out the problems that a simplistic structure like this inevitably deals with on several logical and illogical concepts within its build. If I paid for this movie in a theater, I would probably be a lot harder on my final grade for the movie, but as a Netflix night in, it’s a full-proof evening planner of laughs and solid kills in execution that offer at least one thing for every respective age group looking to have fun. It’s kind of a callback to those 80’s satanic B-films like ‘Fright Night’ that are disposable because of the fire power that resides within one watch, but the more you re-watch and think about it, the bigger the glaring problems start to arise.
The value from within this script weighs heavily within the bond of the title character and her child client that sets the precedent for everything that follows. The Babysitter feels like a quest to Cole in more ways than just a romantic one, and the deeper the film goes, we start to explore their relationship as one that evolves with each twist in the narrative. I love that this is a film with concrete pacing, clocking in at only an 80 minute sit, yet the film doesn’t feel like it rushes or flies through anything in sacrificing its material. The first act of the film is used almost entirely to build the friendship of these two characters who feel like they should be worlds apart to us at home, but are such a dynamic team that it feels like nothing else can touch them within their anything goes time frame together. The second act hammers home the idea that a babysitter can prepare a child for anything, but there will come a time when that kid will break away from the confines of guidance to blaze his own path to adulthood, and that stance comes to fruition throughout this night of madness that has him taking the reigns of man of the house. Fighting for your life is an easy concept to understand for any character, but when you start to see the carving out of adolescence taking place from within, you start to see that the bigger picture is in this evolution that Cole is enveloped in when he must stand on his own two feet for the first time in his life, setting the stage for a third act showdown that didn’t disappoint in anything that this production threw at the screen.
Perhaps the single greatest positive that I took away from the film was the pulse-setting kicks in production that give the film that much needed uproar in attitude that it required. The editing is sound, cutting into a lot of chase and suspense scenes with the standard panning out shot that quickly reveals the kind of environment that Cole is wrapped in. I also thought the use of on-screen colorful text to visually narrate the various weapons and even sounds that came from this nonstop action, gave the film a crisp throwback to the 70’s shootout flicks that always feel like the sounds required text. This is further emphasis on the kind of personality that the film tries to convey for itself, even if the tone can feel terribly juggled at times. More on that later. The sound mixing is crisp, delivering the devastation of every bone-crunching sound with the kind of impact that brings emphasis to the film’s brutality. In the wrong hands, sound can come across as corny or even meandering, but the work done on this production values the importance of such a presence, blessing the marriage of sight and sound beautifully that a campy horror film commands.
On the subject of some of that jumbled tone, I feel like the film worked best in its individual feats, but failed in bringing them together seamlessly. As a comedy, the film succeeds for its high school kind of personality that grants the movie a ‘Scream Queens’ kind of vibe. As a horror film, there’s plenty to love in gory death sequences that really strike a match for pure imagination. Yet interestingly enough, the two together never merge successfully on the same timeshare to craft a solid hybrid that can articulately juggle both. The film knows this too because by the third act, it loses all of its personality in humor to deliver entirely to the audience that will more than likely seek it out; the horror buffs. I blame a lot of this on the extremely immature direction in tone of the comedy versus the very adult surrealism of these brutal bloodbaths. Because they are so extreme in their respective directions, it makes it much more difficult to guide them back to that point in the middle where they both echo off of one another, catering to a law of averages that could’ve done them both a great justice.
Aside from the sometimes jumbled tone, I had a few problems with inconsistencies and logical stances that hurled a beating of my intellectual investment into this picture. For one, it always drives me nuts in horror films when so much noise and destruction is taking place in a neighborhood, yet nobody from any of the houses see this or call the authorities. One such example is a firework that blows up underneath the house and into the front yard, but five minutes later you never even knew this happened because of how quick it disappears. Speaking of vanishing acts, where do some of the antagonists go during these long fight and chase sequences with Cole? It definitely feels obvious that every sequence is structured as such because I find it difficult to believe that they all wouldn’t try to jump him at once, instead of leaving that gap of possibility for him to escape when going against just one of them. Objects too are getting in on the vanishing act as well, as a police car vanishes from the driveway, then re-appears in the end of the movie to provide an antagonist with a useful weapon. It’s parts like these that drive me nuts with the continuity of a story, and it’s something that holds no excuse for how simple it could all be preserved.
Not all is a negative however, as the performances I felt held up respectively for a magnitude of age brackets. Judah Lewis is solid as Cole, channeling a welcoming of adolescence that has felt as natural for a transition as I’ve seen in quite some time. Samara Weaving is also devilishly delightful as the title character who orchestrates this whole night. Weaving is the cousin of Hugo for those unaware, but to me she gave me such Eva Green kind of vibes in a crooked smile and rebellious demeanor that makes it easy to fall in love with her. The chemistry between these two is the single most important benefit for the film because without it, you never comprehend the betrayal and the tragedy that envelopes the spinning road that their friendship takes. Also, the entire group of antagonists each add something clever and defining for their respective character arcs. My personal favorite is Bella Thorne’s annoying cheerleader type who toes the line admiringly with a satirical sting that kept me laughing and rolling my eyes an equal amount.
THE VERDICT – Like its child protagonist, ‘The Babysitter’ grows up before our very eyes the longer it goes, even withstanding the blow of a few logical inconsistencies and constant tone juggling along the way. The film harbors an underlying gentle fable of growing up to counteract its bloody brigades, providing an earning of the coming-of-age tag within its funhouse of horrors that satisfies many crowds. Lewis and Weaving indulge in the teenage fantasy mindset above the clouds of imagination, leaving us anticipating the occasions they come down to transfix us with their bond. As for McG, you’ve finally done something valuable. Don’t screw it up from here.