As a film critic who has spent decades immersed in the vibrant world of cinema, I must say that “Don’t Tell Mom the Babysitter’s Dead” is a film that leaves me feeling rather divided. On one hand, it’s a refreshing reimagining of a classic ’90s comedy, with a diverse cast and some genuinely funny moments. On the other, it seems to squander its most intriguing idea – the contrast between a white family and a Black family living out the same story – by playing it for laughs rather than exploring the deeper implications.
Despite modern trends that deem any vintage content popularized among over twelve individuals as a potential reboot candidate, the 1991 comedy “Don’t Tell Mom the Babysitter’s Dead” stands out as an unusual choice for rewatching. This is due to the fact that the movie was based on the trend of latchkey kids during its time – Christina Applegate portrayed a 17-year-old who had to look after her four siblings when their mother went on vacation, and their babysitter unfortunately passed away.
The movie was part of a fresh wave of productions centered around unsupervised children, and it debuted mere eight months after “Home Alone.” While not the funniest in the genre, “Don’t Tell Mom… ” showed some intelligence. It was essentially a teenage daydream, but with a harsh twist – the struggle to provide for one’s family and maintain basic necessities amidst the hustle and bustle of a busy household (the original title was “The Real World,” but it was changed by the studio to avoid confusion with MTV’s forthcoming reality show titled similarly).
In the year 2024, children being raised by absentee parents is no longer an issue due to TikTok taking on that role. Therefore, film director Wade Allain-Marcus faces the task of finding a new perspective for a remake. His solution is to make the same movie but with a Black family instead of a white one. This concept could be intriguing because it introduces contemporary racial themes and potential conflicts and humor. However, attempting to balance a sensitive reinterpretation with a daring update results in neither aspect being fully realized.
The movie seems to present a contradiction, as it offers a light-hearted, family-friendly atmosphere while incorporating offensive language and mature themes associated with the Black experience, which resulted in an R rating. It’s unfortunate because the screenwriter, Chuck Hayward, has crafted dialogue that is just as humorous, if not more so, than the original, and Simone Joy Jones delivers a captivating performance reminiscent of Applegate. However, this reboot, boasting an excellent cast, lacks the boldness it aspires to have, diluting its central concept and providing us with a remake that is enjoyable but ultimately underperforms.
This Babysitter Lacks a Tough Satirical Hand
Interestingly enough, Jones has recently finished working on another unusual reimagining, the series Bel-Air on Peacock. This is a dramatic reinterpretation of the popular ’90s sitcom, The Fresh Prince of Bel-Air. The new version is heavy on angst, but it does stick to its guns. On the other hand, Don’t Tell Mom… treats serious moments too gently and relies excessively on humor for flimsy lines about OnlyFans and Who Shot JR?, which could have benefited from a sharper satirical approach.
Regarding the storyline, it can be rephrased as follows: Despite the unexpected departure of her mother (Patricia Williams) for a yoga retreat in Thailand, Tanya Jones, a 17-year-old girl, finds herself in an unusual situation. Instead of taking care of her siblings – stoner brother Kenny, nerdy brother Zach, and goth sister Melissa – her mother hires Mrs. Sturak as the babysitter. The arrival of Mrs. Sturak raises intrigue, particularly since she is played by the beloved June Squibb, and her sharp-tongued remarks hint at a fascinating plot twist: it seems that her character could be related to Clint Eastwood’s bigoted retiree from Gran Torino, given her acidic dialogue.
Mrs. Sturak’s brief statement hints at the removal of protection and the unstable character of Squibb, thus creating an element of risk that every great comedy strives to deliver. Unfortunately, the original plot remains intact as the story unfolds. Quickly, Mrs. Sturak passes away, leaving it to Tanya and her siblings to conceal the body, prevent discovery, and primarily, generate income so they can sustain themselves during their mother’s absence.
Is ‘Don’t Tell Mom…’ a Family Film or Is It Too Vulgar?
The primary role of Allain-Marcus, who’s more known as an actor, was directing credit in this film. The script of the 1991 version undoubtedly guided him, but he struggles to determine who this movie is intended for.
In simpler terms, we’re not getting a comedic masterpiece like Kenya Barris’s, but rather a remake of the 1991 original, where Tanya must figure out how to support her family. Her attempt at driving for rideshare fails, so she schemes to land a job as an assistant to Rose, a high-end fashion line boss played by Nicole Richie. Despite her bright demeanor, she struggles to deliver jokes effectively. Office conflicts arise, including a rivalry with a receptionist that mirrors the original movie, but these are mostly uninteresting because the film doesn’t offer fresh insights into modern workplace dynamics.
Rather than maintaining a challenging speed, the movie unfolds leisurely, with Kenny squandering cash almost as swiftly as Tanya can generate it. They construct a half-pipe in the backyard and host extravagant gatherings. Eventually, Tanya is assigned the responsibility of preventing Rose’s struggling business from closing, culminating in a fashion show finale in the family yard, which was filmed in the same Santa Clarita, California home as the original film 33 years ago.
It’s Funnier than the Original but Squanders Its Best Idea
The movie “Don’t Tell Mom… ” has a certain allure, largely due to Jones’ performance, and there are several witty dialogues in Hayward’s script. In some aspects, this film surpasses the initial one (though not by much). The mystery behind why the Applegate version gained such cult status is something for our top researchers to solve; interestingly, it might be because TV often served as a babysitter, and the movie was frequently shown on cable. However, the letdown lies in realizing that the filmmakers had a fresh reboot concept but didn’t fully explore it, instead choosing to stick closely to the original’s rhythm.
On November 19th, the movie “Don’t Tell Mom the Babysitter’s Dead,” produced by Spiral Stairs Entertainment in collaboration with Treehouse Productions and Smize Productions, will be released on various digital streaming platforms. You can stream it on BET+, or rent/buy it on Apple TV, Google Play, FandangoNow, or Amazon Prime Video.
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2024-11-19 17:04