![]() Anyway, he's heavily medicated but his would-be gal pal Melanie ( Emily Alyn Lind) convinces him to come to a party by the lake. He wears a brown corduroy jacket and a tie to high school, not quite a nerd, not quite retro New Wave, but definitely an odd duck. The cusp-of-puberty Cole (Judah Lewis, who is actually amusing enough in this this isn't his fault) is now a nervous, awkward teen who has been gaslit by his parents and guidance counselors into thinking the violent acts he witnessed years ago never happened. The Babysitter: Killer Queen picks up two years after the first ended. And then you realize, wait a second, this doesn't just "sound like" that music - it is that music! Criminal. Apart from the annoying nature of realizing "oh, I guess someone demanded they try to insert stakes here," these two or three moody, emotional moments have an evocative, electronic score underneath it, similar to the music Tangerine Dream created for Risky Business that helped elevate that 1983 movie from a sex romp to a bonafide classic. What's worse is that this kind of blasé "I don't really care, do u?" attitude permeates most of the movie, except for when would-be tender scenes of genuine emotion collide into what is otherwise a yukfest. It's essentially a replay of the first, to the point that the action stops at one moment so the words "What The Fu**?!…. This sequel to the borderline-decent 2017 Netflix original The Babysitter is neither of these things. Gory horror-comedies with half-baked plots can actually be quite entertaining if they are at least well-shot and well-written. The Babysitter: Killer Queen might very well be the worst thing I've watched in 2020, and I sat through the State of the Union Address.
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