With a breakneck pace, the entire experience rides on greased rails, leaving the audience to enjoy the surprises around every turn. Halloween is started early this year, and Netflix just made sure it’s in on the ground floor with The Babysitter: Killer Queen. The Babysitter: Killer Queen is the horror-comedy we all need right now. Not only do the characters from the original story get to expand, but the lore and twists further build a nice and cozy world in which to potentially set future adventures. To its advantage, The Babysitter: Killer Queen uses Lewis’ developing skills to give him more exciting twists and turns to navigate.
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But surprisingly enough, this movie embodies that exact sort of sequel in every way.īut in-between Robbie Amell’s shirtless menace and punchlines, and Bella Thorne’s over-the-top mean streak, there’s more room for Judah Lewis’ Cole to grow as a character. The Babysitter: Killer Queen does both of those things, practically tempting fate to strike it down in its hubris.
If you’re a sequel, it’s practically a killer’s kiss to invoke the name of a film like Terminator 2: Judgment Day, both in story beats and directly in your dialogue. The Babysitter: Killer Queen knows the game it’s playing, making for a sequel that nods and winks to the history of follow-ups. Just when he’s starting to make moves towards getting over his life, and trying to win the heart of best friend/crush Melanie (Emily Alyn Lind), his would-be killers somehow arise to try and finish what they’ve started. No one believes his story of a demonic cult (Robbie Amell, Bella Thorne, Andrew Bachelor, and Hana Mae Lee) trying to sacrifice him in the name of achieving their inner most desires. Sometimes, less is more.Flashing forward two years into the future, The Babysitter: Killer Queen takes place in a world where Cole (Judah Lewis) is still traumatized from the events of the first film. The Babysitter: Killer Queen, by comparison, can feel like a “Scary Movie” parody at times, which will significantly lower its stock in the eyes of many.
The original Babysitter was a modern classic, able to transcend its genre because of the way it effortlessly eased into its absurdity.
Its start - and finish - are its strongest suits: something in the middle needed to get cut along the way. It meanders, many of the jokes just plain don’t land (or are taken too far down the cringe path), and there are too many people in too many locations for any of them to truly shine. It’s very clear that McG needs to be reigned in, and was potentially given more freedom this time around as one of the four writers for the script. I was much higher on it during the first half, especially when the weird surreal interludes felt fresh. While the original film was a brisk hour and 20 minutes, the sequel adds another 20 on top of that causing a pacing problem about halfway through where it becomes a gauntlet of cult fights. It can get a little too formulaic, despite those aforementioned quick and enjoyable interludes. The Babysitter: Killer Queen (2020) – Netflix
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