McG
The Babysitter

Break a lance once in a while,

Someone deserves a lance. Broken, let's not exaggerate.

If the platform with the red "N" has been dictating the law on series for over half a decade, it's certainly no news that its film productions are failing miserably, like a sieve trying to stay afloat.

In 2015, McG ("Terminator Salvation", "Charlie's Angels", and other crap) with a significant delay, shot a college horror comedy:

Without revealing anything of the non-existent plot: there's laughter and a lot of splatter. The splatter is decidedly above average for the genre, the laughs are intermittent. It references all the experimental-commercial cinema of the last twenty years, from Scott Pilgrim to Super.

And the result is a film, exactly, shot with a ten-year delay.

More or less everyone realizes this, so much so that once it's edited and post-produced, the film is forgotten in some recycling bin, and McG moves on to other things.

Two years go by, and the red "N" while rummaging through the trash, recovers the package of this stuff and changes its place: from Hollywood's recycling bin to Netflix's computable bin.

The film comes out in 2017 on the platform, and on that platform, it even does pretty well. Actually, no: it does incredibly well, so much so that two years later, Netflix itself produces a sequel. Worse than the first chapter. But since Netflix offers films so poor, this decade-old junk still manages to garner approval, and in fact, dear owners of the mythical Netflix, rejoice: the third chapter of the saga is already confirmed. Same creative team, same production and distribution.

For the record: I watched the second film yesterday, it's a very amusing plot hole with four safety hooks sewn around it for the script to hang onto.

It's fun, and McG goes to great lengths to pretend to be the indie-young-cool director he never was, even when times were favorable.

Anyway, the news is that one of the least bad films distributed by Netflix wasn't actually from Netflix. And it was a film that, in the canonical circuit (the cinematic one) for two years had not managed to find its dimension. It hadn't even found a dimension in home video. For two years.

Then Netflix came along, and they made two sequels.

You could think this says a lot about Netflix, but in reality, it says things (I'm not sure if many) only about the audience.

Anyway, if you have nothing better to do and can stomach stuff like "Red Notice" or "6 Underground," you might consider giving it a thought.

No, okay, if you can stomach "6 Underground," you might as well start with heroin, because it can't get much worse.


I know the page won't please you much, but this is the fifth time I'm re-editing it, and obviously I'm not editing jackshit anymore, since I've been here for 40 minutes talking about this nonsense distributed by a piece of crap for an audience of idiots.

I had added a long paragraph about the plot and all the film's merits and own goals. In short, there was a review before, but debaser ate it. And so you get this crap of a page.
Bon appétit!