I wouldn't go as far as to say that it's really good, but as far as a believable horror film, one that taps into some pretty universal themes, particularly for those who are parents, this is a good movie with an excellent performance from Sarah Bolger.
So yea, I thought this was quite a good movie. Though, in this case, I can understand that she would live through what happened, since it wasn't that bad.
But, again, this is a role that's more about the smaller details about the character and what makes her tick and not necessarily about her being this Jason Voorhees-type, though the ending makes her look like that. It's not like I think she's one of the elite actresses out there working right now, she may be at a later point, but she's really fucking good in the role and she adds so much to the character. It also helps when you have Sarah Bolger doing such a great job with her character. But it does work in creating this really effective villain, a villain who's intellectually more manipulative than she is physically threatening. It was obviously shot in a way where the kids were probably watching something else, but just the idea that Emelie would do this makes her far more detestable and devious than if she had something far more straightforward like I don't even know honestly. The darkest scene would definitely have to be the one where Emelie shows the kids a sex tape of their parents. The film does go, like I mentioned, to some pretty dark places. Like I can buy that far more than other films that share similarities to this. I can buy a mother, who's also unable to conceive another child, being so emotionally distraught at the death of child that she would go to the extreme of pretending to be someone else in order to kidnap a child she can call her own. What I liked about the movie isn't the fact that it's realistic or anything of the sort, but the story itself is far more believable than just another movie where all the sitter wants to do is kill the family for no real reason whatsoever. To find out who's the perfect kid for her, she does these tests, if they can even be called that, which are pretty fucked up. She's basically doing this to find the perfect kid for her to kidnap and raise as her after her own baby died in an accident, that was her own fault, but an accident nonetheless. The plot is pretty simple, Emelie, the sitter, and this man she knows, who is never named, kidnap and kill the real babysitter so Emelie can pretend to be her. In many ways it's also a home invasion thriller, though the film does throw in some small little twists so it's not so straightforward of a movie. This isn't your typical 'evil babysitter' movie, which is really just a variation of the 'evil caretaker' subgenre that we, honestly, as far as I can tell, we don't get many movies from. So whether you are a diehard Francophile, need to brush up on your French, or just want an excuse daydream about-and plot-your next trip to Paris, we've curated a list of 27 French masterpieces to consider for your next movie night.I do not know if this review will be very long, but I'll see what I can do. The best movies, on the other hand, have long been accessible, if only for a small rental fee on Amazon. Lately, French TV has been having a moment (see: the brilliantly meta Call My Agent! and the slick caper Lupin), reaching a wider American audience thanks in part to Netflix's commitment to produce more content in the country. In the 126 years since, the French movie industry has grown into one of the most highly regarded in the world, credited with giving rise to influential movements like the Nouvelle Vague (French New Wave) in the late '50s, and with creating generations of talent, from Brigitte Bardot to Léa Seydoux, Alain Delon to Omar Sy, Jean Renoir to Olivier Dahan. In 1895, brothers Auguste and Louis Lumière invented a motion-picture camera called the cinematograph and made their first feature, the 46-second long La Sortie de l'usine Lumière à Lyon, which they screened for a private audience that March, making it the first presentation of projected film. Hollywood may be the undisputed king of global film industries, but modern cinema owes its entire existence to the French.