Product Description
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When the worldas most irresponsible babysitter takes
three of the worldas worst kids on an unforgettable overnight
adventure through the streets of New York City, itas anyoneas
guess whoas going to make it home in one piece. THE SITTER is a
new level of twisted and debauched hilarity from the director of
Pineapple Express.
.com
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The Sitter may be the last movie featuring the "heavy"
version of Jonah Hill. With the many pounds he's since lost, many
movie-industry minds are wondering if the Jonah Hill-ness of his
screen persona, flaunted so prodigiously in the likes of Knocked
Up, Get Him to the Greek, and Superbad, has disappeared from the
scales too. But until Jonah 2.0 gets his chance, The Sitter
couldn't capture his t-talking, man-child, king-of-comeback
essence more boldly, more lovingly, or with such blatant
vulgarity. Hill plays Noah, a jobless twentysomething layabout
still living with his divorced mom along with the delusion that
he has a hot girlfriend (she only keeps him around for oral
talents that are unrelated to speech). As a favor that might help
Mom with her own sad love life, he agrees to a one-night
babysitting stand for the neighbors and their three wildly
dissimilar but equally messed-up children. The night progresses
through slapstick, farce, adventure, romance, danger, pathos, and
eventual catharsis for everyone. (Unfortunately there's a touch
of maudlin, sentimental corn in the mix too.) The children are as
important to the escapades as Noah and are the primary source of
his stupid/smooth shtick that mixes clever put-downs, terrified
jabbering, and hilariously relentless patter of urban slang
vernacular. Noah's spoiled charges are two boys--an
anxiety-wracked 13-year-old and a 10-year-old Nicaraguan adoptee
with severe anger and pyromania issues--and a precocious
8-year-old-girl who's heavily into makeup, hip-hop, and a score
of other age-inappropriate behaviors. As the four of them hurtle
deeper into the night, the situations become more antically
treacherous with drug dealers, gangster thugs, officers,
and upper-crust snobs as part of the mix, along with their
knives, cocaine, diamonds, alcohol, and s. Director David
Gordon Green, whose unusual career has gone from art house
(George Washington, All the Real Girls) to raunchy bromance
(Pineapple Express, Your Highness), sups formal technique
with the off-kilter and oft-unseemly style of Jonah Hill vs. the
world. Green sometimes evokes the flow of surreality that Martin
Scorsese took to unnatural ends in After Hours, only with more
dirty bits and a lot more full-on crude laughs. Nearly everyone
in the large supporting cast makes an excellent foil for the
star's constant streetwise riffing, especially Sam Rockwell, who
digs in to his role as a psychotic but emotionally conflicted
drug dealer always on the lookout for new best friends. But it is
Jonah Hill who sits firmly, even heavily in the driver's seat.
It's a great place to flash his better-honed actorly chops along
with his beloved version 1.0 comedic gift. --Ted Fry