‘Don’t Tell Mom the Babysitter’s Dead’ Review: Remake for No Reason

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By journalsofus.com

If there were an office pool for potential remakes of Hollywood films, it’s unlikely Do not Tell Mommy babysitter’s death Would have been high on anyone’s list. After all, this 1991 black comedy starring Christina Applegate was hardly a critical or box-office sensation, and its reputation hasn’t exactly improved over time. On the other hand, it was a nearly ubiquitous presence on HBO for many years, and you couldn’t go to a blockbuster without promotional material for it prominently displayed. So the new version with a mostly black cast also has its share of nostalgia value, which it cleverly acknowledges through a few callbacks to the original.

Otherwise, this version directed by Wade Allen-Marcus, which also includes Tyra Banks among its executive producers (the actress/model was also originally scheduled to appear in it), doesn’t do much to enhance the weak story. It sticks fairly close to the original, changing various details rather than providing an overall makeover, and seems better suited for its eventual streaming than theatrical release.

Don’t tell mom about the babysitter’s death.


Fans of the original won’t find much to get excited about, either.

release date: Friday, April 12
mold: Simone Joy Jones, Nicole Richie, June Squibb, Donyelle Tremaine Hensley, Jermaine Fowler, Patricia “Ms.” Pat” Williams, Miles Fowler, Iantha Richardson, Gus Kenworthy, Tyreek Withers
director:Wade Allen-Marcus
screenplay by:Chuck Hayward

Rated R, 1 hour 39 minutes

Once again, the story revolves around what happens when a troubled mother (comedian Patricia “Ms. Pat” Williams) unexpectedly leaves town for an intensive two-month retreat in Thailand after a slump at work. Is. This upsets his 17-year-old daughter Tanya (Simone Joy Jones, Peacock) bel air), who was planning to go to Europe with friends but is now stuck taking care of her younger siblings.

Her mother has hired a nanny in the form of the elderly Mrs. Sturk (national treasure June Squibb). But the sweet-looking old lady who appears to be carrying a Bible reveals a darker streak. As the mother walks away, she fires a starter pistol and announces to the frightened children, “I watched the Madea movies, I know how to discipline you little N-words.”

As the title implies, there’s no telling what happens next. Mrs. Sturak dies, so the frightened family first hides her in the refrigerator when a police officer arrives unexpectedly. After she leaves, they debate what to do with the body, with one of them suggesting they leave it at a funeral home with a note. “This isn’t 1991, use your brain,” said another, making a cute nod to the previous film. Instead, they put him in a car and drove him into a lake, all of which occurred about 20 minutes before the inauguration.

To raise some money to keep them afloat, Tanya pretends to be older and applies for a job at a fashion design firm headed by Rose (Nicole Richie), much to the displeasure of Caroline (Iantha Richardson). Reason hires him as her executive assistant. , a receptionist who was fishing for a job herself. Meanwhile, Tanya begins a tentative romance with Brian (Miles Fowler), a handsome young architect whom she met while working as a rideshare driver.

Minor complications arise in the plot, including Tanya witnessing Rose’s boyfriend having an affair with a younger woman; Her siblings are heavily using credit cards to spend money on home improvements like a skateboard ramp; And Caroline begins to have doubts about the new appointment. Plus, Chuck Hayward’s script contains some amusing lines, such as when Tanya, upon hearing that the company’s financial situation is in jeopardy, declares, “I need this job! I don’t have money for OnlyFans!”

Neither the romantic nor the work subplots amount to much, the latter never coming close. the devil wears prada The level he could go to (Richie’s boss, though sharp-tongued at times, doesn’t begin to reach Miranda Priestly’s levels). Following its darkly comedic set-up, the light action feels generally half-baked, lacking the subversiveness that would have led to a remake. This rests largely on the charm of Jones, who displays considerable comic chops as the troubled Tanya.

Fans of the 1991 version will get a chance to see a cameo late in the film by one of that film’s key players. But still, anyone who really enjoyed the original is probably mature enough by now to not want to relive that experience.

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