The Sitter confirms director David Gordon Green’s unexpected yet healthy career turn. His 2000 debut George Washington, about the out-of-reach desires of black and white kids in the modern impoverished South, introduced a sweet yet somber regional lyricism. It was followed up by several atrocious art-movies for the indie festival circuit until Green gradually revealed a raucous sense of humor that, as The Sitter reveals, returns him to sanity, proportion and adolescent sweetness.
Before college dropout Noah Griffith (Jonah Hill) slips into slacker lassitude, a night of babysitting three worse-off brats wakes him up. As Noah confronts the world’s dangers (drugs, crime, lovelessness), The Sitter avoids the cynicism—and narcissism—of movies like Bad Santa, Superbad and even Green‘s own Pineapple Express. He seems to have shaken off Judd Apatow’s smart-ass influence and found a personal ratio of mischief to magnanimity. No other Hollywood high-roller would begin a film with oral sex so inherently generous.
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