With few exceptions, Netflix films tend to look the same, all dressed in fashions from the same warehouse. But rarely does it resort to unwatchable tedium, even if it’s stock in most ways. Sure, the writing team – four credited – go for many easy jokes, especially the final moment before the credits, which can only be described as bad. In the hands of more memorable directors, “Killer Queen” might turn more heads.īut that shouldn’t undersell all the fun to be had here. It seems like director McG (“Terminator Salvation,” “This Means War”) borrowed a few ideas from neighboring Netflix content, “The Umbrella Academy.”įor McG, such choices mark a dramatic 180 compared to his oft generic cinematic aesthetic. In true sequel fashion, “Killer Queen” cranks the campiness up to 11, texturing the next chapter with surrealist moments and even video game visuals that replace action scenes and other assorted moments. They’re all just as dumb, allowing Cole and newcomer Phoebe (Jenna Ortega) plenty of ways to avoid capture and explore their mysterious connection. But rather than merely rehash the old hits, each of the originals enjoy clever flashbacks, stylized in various ways.
Give a special welcome back to always-shirtless Max (Robbie Amell), tone deaf John (Andrew Bachelor), creepy Sonya (Hana Mae Lee) and vain ex-cheerleader Allison (Bella Thorne). Their boathouse party goes to hell around the time Cole’s old foes arrive: Bee’s crew sans her. Things turn for the worst when Cole learns of a pending transfer to a psychiatric school, so he spirits away to a massive lake party with Mel and her meathead BF Jimmy (Maximilian Acevedo) and equally dopey BFF Diego (Juliocesar Chavez). At least childhood friend Melanie (Emily Alyn Lind, also reprising) remains his north star, even if she only looks at him like a friend. He could never prove the events of that traumatic night actually happened, concerning his parent, and the next batch of teen cliques dub him a freak, hallway antagonism and all. Unlucky for Cole, life doesn’t exactly pan out in high school. Lucky for Cole, Bee and the gang are as clumsy as they are nefarious, which works in his favor. His babysitter Bee (Samara Weaving) might be his first crush, but she’d rather sacrifice him to earn earthly treasures. “The Babysitter” settled for straightforward horror-comedy, a demonic ritual thrust upon newly minted teen Cole (Judah Lewis reprising the role), who fends off killer cool kids. Evil.” But “The Babysitter: Killer Queen,” a subtitle without much teeth in the game, goes retro along the way, proving a predecessor need not bind what comes next. Make no mistake, they owe much to the house Sam Raimi built with “Evil Dead 2” and “Army of Darkness.” Slapstick gags and winks to the past carry on through the likes of “The Cabin in the Woods” (that phrase even pops up here) and “Tucker and Dale vs. The “Babysitter” films are low-key contributions, Netflix’s answer to B-horror comedies. “The Babysitter” sequel serves that end well, fully embracing a silly premise with more chutzpah on its sophomore voyage. Isolation got you down? Can you taste the air? Getting headaches from every tweet vomited from that guy’s tiny hands? Sure, 2020 might be the worst, but at least some escapes remain a few clicks away. Andrew Bachelor as John, Bella Thorne as Allison and Robbie Amell as Max are adversaries to Cole (Judah Lewis) in the “The Babysitter: Killer Queen.” (photo courtesy of Netflix)
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