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The Babysitters

The Babysitters

Drama · 2008

Seventeen-year-old Shirley is a good student who works as a babysitter in order to make money for college. One night Michael, a father Shirley works for, confesses he's unhappy with married life. Shirley has a crush on Michael, and seizes this moment to kiss him. Michael is so happy he presents Shirley with a big tip, which gives her an idea. Shirley plans to make extra money by setting up her teenage friends with other unhappy fathers.

Movie details

The Babysitters

“These girls mean business.”

2008 Drama 1h 28m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

Seventeen-year-old Shirley is a good student who works as a babysitter in order to make money for college. One night Michael, a father Shirley works for, confesses he's unhappy with married life. Shirley has a crush on Michael, and seizes this moment to kiss him. Michael is so happy he presents Shirley with a big tip, which gives her an idea. Shirley plans to make extra money by setting up her teenage friends with other unhappy fathers.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Babysitters?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

Watch in your region.

Cinema release signals and current streaming, rental, and purchase options for your region.

Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

David Ross

Written by

David Ross

John Leguizamo

John Leguizamo

Michael Beltran

Katherine Waterston

Katherine Waterston

Shirley Lyner

Cynthia Nixon

Cynthia Nixon

Gail Beltran

Andy Comeau

Andy Comeau

Jerry Tuchman

Denis O'Hare

Denis O'Hare

Stan Lyner

Lauren Birkell

Lauren Birkell

Melissa Rowan

Louisa Krause

Louisa Krause

Brenda Woodberg

Court is in session

Put The Babysitters on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.