Movie Review: THE SITTER
Another in the long line of feeble mainstream comedies, The Sitter is the final shred of evidence that proves David Gordon Green’s fantastic George Washington was indeed simply a fluke.
Being hailed as a rebirth of the babysitter comedy – more like a Night Of The Living Dead esque resurrection if you ask me – it follows the madcap adventures of an irresponsible teenager and the three children under his custody for the night.
It all starts when the promise of having sex with his beautiful partner arises on the night he’s looking after his neighbor’s three quirky children. She expresses that if he brings her some drugs, the aforementioned teen, played by Jonah Hill, will finally be able to sleep with her.
Taking the kids with him to purchase the drugs – yes, you read that correctly – he accidently bumbles into a mess that sees the group tangled with some of New York City’s most ruthless drug lords and on the run to find the cash that will save their lives.
The film is akin to watching the director commit an 80 minute long suicide right in front of your eyes having given up hope of ever making a good movie again. His work is apathetic in every single way, with no intention of taking you on a journey that is either fresh or remotely entertaining anymore.
The script opens up many possibilities, for example, of great dark comedy in the vein of Horrible Bosses and amusingly barmy set pieces reminiscent of The Hangover. However, David Gordon Green fails to even recognize The Sitter’s own potential – as little as it has – opting instead to go down the obvious path. From immaturely raunchy humor, slapstick violence, manic action and splashes of sentimentality, it’s the comedy genre at its most recycled.
Why Jonah Hill, who shed his skin so brilliantly to show what he’s truly made of in Moneyball, is sinking down to this low alongside David Gordon Green is baffling. Like the director and several cast members such as Sam Rockwell and Max Records, he has proven that his talents far exceed the likes of this clumsy caper and there’s no excuse for involving himself with this mess.
The end of the film has a post credit sequence in which ‘wanted’ posters are comically shown for each of The Sitter’s villains with one boasting the face of a deceased character underneath a bold ‘RIP’. Aside from the inconceivability that a dead man can be wanted, there was another glaring fault that this scene overlooked:
The face should have been David Gordon Green’s and that RIP memoriam should be in regards to his career as a dignified film director.
Note: This review is based on an early screening of the film and minor changes will have been made. If any information is no longer correct, though it has been researched by myself, please let us know!