The Babysitter is a rip snorting fuckin great old school horror throwback, I’m excited that money is being spent on projects like this, and stoked further that Netflix is purchasing them. With a premise culled from the depths of the 80’s and a revamped modern setting complete with obligatory pop culture references to assure us that although it’s steeped in nostalgia, we are in fact in the here and now, a recipe that cunningly embraces both sides of the fence, each with grass equally green. Plus it’s a fuckin intense, R rated, batshit crazy bloodbath, with smart writing to back up the carnage. Set on a sunny suburban afternoon, young Cole (Judah Lewis) is a bullied lad with loopy parents and obligatory nerdy nostalgic affinities, as well as a special bond with his sexy, sassy babysitter Bee (Samara Weaving), who is looking out for him while the parental unit takes off on a night away. It’s party fun friendship time with the two of them, who couldn’t get along better, until… Surprise!! Bee and her clique of high school friends are actually a murdering satanist cult with blood on their hands and killing on their minds. From there it’s a deliriously gory free for all as Cole discovers this is the night he becomes a man, and has to defend himself tooth and nail from these demented weirdos, and reconcile Bee’s betrayal, a theme I was shocked they had time to explore amidst the bloody chaos. It’s silly in the vein of the Evil Dead, but polished and succinctly written by way of Scream, and peppered with deliberate pop culture Easter eggs a lá Stranger Things, an irresistible flavour overall. Pouty lipped, well endowed Samara is a true find as Bee, earning both Cole’s admiration, adoration and finally fear with her spunky, scary performance. Her little cult is populated by slightly tweaked archetypes including the token black guy (Andrew Bachelor), the slutty cheerleader (Bella Thorne), the creepy Asian chick (Hana Mae Lee) and most entertainingly the douchebag jock (Robbie Amell has fun with the role and then some). Colourful pastel production design provides a palette for gallons of gushing blood to be spilled via stabbings, shootings, impalings, vehicular decimation and one of the best shotgun to the head sequences in years that’s so sudden it even has Bee remarking “holy shit that was graphic”. I love old horror flicks and I can’t get enough of this throwback trend they’ve been doing, when they do their research and put out solid gore-fests and fright flicks, and this one is a fuckin hoot from front to back.