If The Babysitter was–as our review points out–an unfunny homage to 1980s teen slasher comedies, The Babysitter: Killer Queen doubles down on being unfunny and ramping up all that was flawed the primary time round, together with among the broadest, most irritating ensemble appearing we’ve endured on this or every other yr. Additionally the nostalgia-baiting use of “Killer Queen” within the title appears drawn purely using the basic Queen music late within the movie, and no different discernible purpose.
McG simply throws no matter he can on the digital camera, utilizing pop-up bubbles, onscreen exclamations, pointless flashbacks, and gradual movement sequences to pound residence the truth that you’re speculated to be laughing in any respect this. However just like the attention-deficit, bro-dude that he has all the time been behind the digital camera, McG forgets about all these things the minute he deploys it. A seeming try at some highschool satire early on is deserted as quickly as low-level misogyny and slapdash gore is launched.
Sure, there are many kills in The Babysitter: Killer Queen that you just’re speculated to chuckle at and maybe hoot over on account of their sheer outrageousness, however these put on out their welcome too. With characters as flat because the floor of the film’s lake, there’s zero funding in what occurs to any of them, and even the gore itself is spoiled by the plain CG nature of all of it. These ‘80s films that this movie needs so desperately to be related to no less than had a tactile high quality, even when the results weren’t the perfect; right here you may as nicely be a cartoon.
The most important query is: how does Joseph McGinty Nichol maintain getting work as a director? From Charlie’s Angels (2000) to Terminator Salvation (2009) to This Means Struggle (2012), to his almost unwatchable Netflix disaster Rim of the World (2019), McG’s profession has been one slab of mediocrity after one other. However clearly The Babysitter drew sufficient eyeballs to Netflix (after being bought off by New Line Cinema) that the programming bots determined to make this a franchise.
By the point we get to a shock reveal within the last reel (involving an actor who clearly has little interest in being there any longer than vital), one has lengthy grow to be numb to The Babysitter: Killer Queen’s frantic nature, fake raunchiness, slack pacing, and barely there narrative. If the aim of a babysitter is to make it possible for their cost drifts off peacefully to sleep, then this foolish sequel could succeed on these phrases alone.