Audience Member
Nothing too special but if you like early 70's hippiesplotation then this is for you.
Rated 1.5/5 Stars •
Rated 1.5 out of 5 stars
02/25/23
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Audience Member
I hate it when your wife sneaks away for the weekend to help her pusher score a deal in Mexico and then you have to spend it with your hot babysitter showing you how the youth of today live. #richpeopleproblems I also learned that all rich white guys own a boat and a plane they know how to pilot.
Rated 3/5 Stars •
Rated 3 out of 5 stars
01/23/23
Full Review
Audience Member
While the original "The Babysitter" served as little more than an excuse for producer/star George E. Carey to frolic nude with a bombshell half his age, the subsequent "Weekend" is a notable improvement on its lame, hollow predecessor. First, it has a point: Carey's Jim Carlton and the second incarnation of Candy Wilson (here played by Susan Romen) has an actual trajectory, rather than just a series of softcore sex scenes preceded by a few patches of stupid dialogue. Second, "Weekend" makes an actual attempt to explore the subculture it shamelessly celebrates, rather than the original "Babysitter's" satisfaction with just haphazardly throwing hippies onscreen and hoping for the best.
Jim is dissatisfied with his (somehow) humdrum job as a film producer and screechy, distant, secretly drug-addicted wife Mona (Luanne Roberts). The appearance of the titular seductress begins to inspire Jim, who takes Candy under his wing and, along with the perfunctory sex scenes, actually spends time with her, getting to know a group of obliging, friendly hippies with a penchant for free love, grass, good music and hot-rodding who -- very, very uniquely -- don't take exception to Candy's square pal. The lady and her buddies teach Jim a thing or two, like how to smoke a joint and find self-satisfaction in small things like auto races, sitting in makeshift circles in vans and -- naturally -- easy sex.
Jim's tryst with Candy and debauched but satisfying getaway is juxtaposed with his wife's harrowing ordeal with a demanding drug dealer (Anthony Victor), who withholds the woman's fix in an effort to coerce her into using the wealthy couple's boat for a deal. Here's another area where "Weekend" succeeds where its forebear didn't (due to lack of effort): not only does it bother to actually show facets of the '60s subculture, it also provides examples of why the mainstream might contain flaws worth considering negatives when contemplating a switch to a more dissolute lifestyle. While Jim, Candy and friends openly indulge in harmless marijuana and guilt-free sex, Mona is a seemingly straight-laced woman whose closet dependency to a dangerous drug nearly kills her. It's a compelling, quiet "legalize it" message that High Times, NORML and all the other lobby groups couldn't hope to achieve with all their well-meaning but tiresome rhetoric.
Also, in lieu of the poorly framed, unappealing sex scenes from the original, "Weekend" is much, much more pleasant to watch when Carey and Romen get, er, intimate; original Candy Patricia Wymer seemed much, much more reluctant to share the screen with her older costar. Not only does the color cinematography exude a warmth the cut-rate black-and-white stock used in the preceding film never had, the staging is much better as well, adding to the stars' sense of connection with a bit more sumptuousness unfamiliar from the stark, nearly uncomfortable scenes Carey and Wymer previously had together.
The more developed the relationship between strayed husband and vixen, the more meaningful the cheater's realization of just what he has -- and is risking -- too. That's the case with "Weekend" as well: While "Babysitter" relied on some inept blackmail plot to give the movie some much-needed conflict, the sequel has plenty. Mona is in real danger, and Jim's concern for her and their life together (no matter the problems) feels real and urgent. The scheme Jim, Candy and the hippies come up with to rescue the adrift woman from her malignant captors isn't bad either, involving a boat, a plane and a gang of bikers making a big anti-narcotics statement while husband and wife rediscover one another in the released tension.
Rated 3/5 Stars •
Rated 3 out of 5 stars
02/21/23
Full Review
Audience Member
Far inferior quasi-sequel to the 1969 B-movie gem 'The Babysitter' has a slightly larger budget, but has none of the style, energy, or depth of the first film. Instead, its a bland, lifeless melodrama that mostly seems like an excuse for writer/producer/star George E. Carey to do love scenes with a girl half his age. Dull and instantly forgettable.
Rated 1.5/5 Stars •
Rated 1.5 out of 5 stars
01/28/23
Full Review
Audience Member
Another selection out of the Drive In Cult Classics set, filled with the same corny acting that populated the 'other' Babysitter flick that also starred George Carey (who produced, I believe), this features a middle aged guy falling for his babysitter while his wife becomes embroiled in a drug deal gone wrong.
Confused? Yes, but it's a pretty amusing ride.
Worth a spin just because it's so puzzling.
Rated 3/5 Stars •
Rated 3 out of 5 stars
02/07/23
Full Review
Audience Member
A very good movie about teenage love and senior geritol.
Rated 5/5 Stars •
Rated 5 out of 5 stars
02/08/23
Full Review
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