![]() The returning cultists are flat copies of their original selves, content shoveling the same jokes and violent gags. His lack of growth is in line with the lack of care afforded every character. Where we rooted for him before, here audiences would probably be perfectly okay with his death. A quirky teen in the original, he’s become something of an imbecile in The Babysitter: Killer Queen. The first film is silly, but this is just stupid.Ĭole has seemingly regressed as well. Another scene takes the form of a televised dance competition with protagonists and antagonists alike stepping out for an unseen audience. A fight suddenly becomes an excerpt from a Mortal Kombat game. Where the original feels like a relatively straightforward overnight slasher with a heavy dose of charisma, this one throws any semblance of structure out a gaudy window. The writers - Dan Lagana, Brad Morris, Jimmy Warden, and McG - seem to think bigger and dumber was the way to go here. Where the first film weaves in humor built on the teenage experience and awkward relationships with both family and peers, the sequel scrambles to find similar touchstones and winds up grasping for air. The story delivers one interesting turn before devolving into a series of recycled gags, jokes, and plot turns. Duffield is replaced by four co-writers who try aggressively to find laughs that never come, and McG’s style is left flailing in the breeze without the anchor of good writing. ![]() The Babysitter: Killer Queen is none of that. His playful, energetic directing style pairs well with Brian Duffield’s sharp script, and the result is an immensely fun movie filled with personality. McG’s never been the most reliable director, but his surprisingly fantastic Netflix debut, 2017’s The Babysitter ( my review here), remains an absolute blast of big laughs and bloody demises. I mean, why target a child when you can just assume Cole is still an innocent virgin? Cult members new and old converge leaving Cole once again fighting for his life, kissing girls well out of his league, and clumsily tripping his way through the carnage. He heads off for a weekend of hopeful relaxation with his best friend Melanie (Emily Alyn Lind) and some others, but what should be a fun time with drinks, drugs, and shenanigans instead turns deadly. Other teens think he’s weird, his parents suspect him of suffering a mental break, and the threat of a psych ward hangs in the air. Of course, all of the evidence somehow disappeared - including the death of those cops whose last known stop was Cole’s house, but whatever - so Cole is now even more of an outcast than before. ![]() They killed a stranger and two cops in Cole’s house and attempted to off him too, but luck, creativity, and a spunky resilience saw the teen triumph instead. It’s been two years since Cole (Judah Lewis) faced off against the satanic cult led by his otherwise awesome babysitter (Samara Weaving). Still, as bad as it has historically been for some sequels, few deliver as unfunny, unexciting, and underwhelming an experience as The Babysitter: Killer Queen. ![]() Just ask the makers of Return of the Living Dead II (1988), Tremors II: Aftershocks (1996), and An American Werewolf in Paris (1997). Following up a fun, fresh, and highly entertaining slice of comedic horror can be a tough challenge.
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