Distributed by Netflix, the 2017 ‘teen comedy horror’ film The Babysitter is an uneven attempt at horror genre homage. It loses momentum in its second act and struggles to find its way again – dragging its bruised and bloodied corpse to a predictable and unsatisfying conclusion. Visual gimmicks are introduced early, forgotten about, and hastily added back in during the third act; sub-plots are meaningless and malnourished; action set-pieces are underwhelming; and the main plot is filled with holes and contradictions. But, aside from all of those criticisms of the film as a whole, there is an interesting discussion to be had about this film when seen through a feminist lens.

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