Don’t Tell Mom the Babysitter’s Dead, 2024.
Directed by Wade Allain-Marcus.
Starring Simone Joy Jones, Patricia Williams, Jermaine Fowler, June Squibb, Nicole Richie, Iantha Richardson, Tyriq Withers, Miles Fowler, Gus Kenworthy, Donielle T. Hansley Jr., Trishna, Ayaamii Sledge, and Carter Young.
SYNOPSIS:
Tanya finds her summer plans canceled when her mom jets off for a last-minute retreat and the elderly babysitter who arrives at her door unexpectedly passes away.
Without having seen the original Don’t Tell Mom the Babysitter’s Dead (but having a working knowledge of it), updating the story with a black family and racist white elderly babysitter leaps out as the right choice, even if, well… spoiler alert. That’s a dynamic that can be used for a healthy balance of humor and social commentary, so it’s immediately frustrating that director Wade Allain-Marcus (working from a screenplay by Chuck Hayward, conceiving the story alongside Neil Landau and Tara Ison) is comfortable sticking to the trajectory and structure of the original rather than going in some drastic changes and making this version his own.
There is a severe, crippling tonal disconnect here following the death of that babysitter (choosing my words carefully here, it is amusing hearing lovely June Squibb say some horrible things, especially since the film has a sense of humor regarding that dynamic); what follows is something that reverts to a family-friendly look at how hard it is to be an adult, to have a serious relationship, and to be a parent working a demanding job. Forget murder investigations or trying to cover up to their mom, played by Patricia Williams (on a mental health vacation getaway), that the babysitter is gone, as that element disappears in the narrative entirely (save for an ending credits stinger that is somewhat funny, but also funny enough to not make up for the fact that the title of the film is a statement almost irrelevant to the actual ensuing story.)
Realizing that they need money to purchase essentials for taking care of themselves, 17-year-old Tanya (a charming Simone Joy Jones) rather easily lands a starter position at a respected fashion company, fudging some details on her application thanks to her crafty brother Kenny (Donielle T. Hansley Jr..) He and his other siblings, Melissa and Zach (Ayaamii Sledge and Carter Young, respectively), stay at home, doing whatever they want, which includes building half-pipes in the backyard and throwing overcrowded parties. Meanwhile, Tanya begins to feel, from all angles, the pressure that drove her mother to a mental wellness retreat.
There is a sincerity to Don’t Tell Mom the Babysitter’s Dead that is pleasantly welcome, and it would be unfair to say that any of the performances are bad. The problem is that the tone becomes too safe and bland, hitting upon the same plot beats as the original. It carves its path for about 20 minutes before strictly becoming a remake, pausing to jokingly acknowledge whenever the film does do something slightly different (one character points out a suggestion is not feasible since it isn’t 1991 anymore, a corny, surefire way to make sure the audience understands what is being referenced.)
One sits there waiting for Don’t Tell Mom the Babysitter’s Dead to lean into something edgier, embrace its Blackness, or find some creatively stimulating reason for existing. Instead, it goes on the same path of fashion workplace drama and romantic troubles. Beyond the first 20 minutes, not a single character actually gets something hilarious and noteworthy to do. Sincerity is nice but doesn’t always make for something emotionally engaging. Don’t tell anyone to watch this remake.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
