Don't Tell Mom the Babysitter's Dead

It was ok. Passed the time.

But I can't get past the fact that these kids in 2024 weren't clued up enough to even consider that the babysitter was someone relative and check that before they dumped her body. Even the kid that was compassionate to crows! Thats easy to do these days and I think kids of today would be that thoughtful, if they're good kids, like these were. So the fact they just dumped her, even if she was a cranky old lady made me not care much for the kids at all.

But also the filling her with alcohol and driving her in to a tree, might have worked; however when she was pulled from the water there would be no water in her lungs and an investigation would begin. So not quite an open shut case.... Which would be fine, if they didn't end it with a news story trying to wrap it up neatly.

Just seems like they could have done better. This story worked in the 90's, not so much in 2024. That's on the writers.

A few fun nods to the OG but fell short. Super rushed and lacked the bite and reality of the original. The simple fact is, the original wouldn't fly on a logical stance these days. No one questioned it in the early 90s. The original had realistic kids and characters for that time, even Kenny's evolution couldn't be mimicked. My kids and I watched it and I immediately made them watch the original because it had a magic the remake couldn't capture. I'm all for taking nostalgia and trying to reinvent it but this fell flat. I hope no one tries a camp nowhere remake because I'd imagine it'd be as lame as this.

Right, when I stumbled upon the 2024 movie "Don't Tell Mom The Babysitters Dead", I didn't know that they had remade the 1991 movie from director Stephen Herek. And my first thought was "but why?". Yet, I opted to sit down and watch the movie with an open mind and give director Wade Allain-Marcus's 2024 movie a fair chance.

But not even five minutes into it, it was painstakingly clear that this was going to suck big time. Yup, I figured that this movie would be a pointless remade that was remade solely for the purpose of being potically correct and inclusive. And guess what, my intuition was right.

The narrative in the movie was similar to the 1991 movie where writers Neil Landau and Tara Ison put together an enjoyable and entertaining script and storyline. But this watered-down 2024 remake from writer Chuck Hayward just paled in comparison. Sure, there were some fair enough aspects to it, but it was overshadowed by the looming sense of how pointless the remake was and some insanely recially stereotypical characters that just did nothing to further the enjoyment of the movie.

And even upgrading the movie to today's sad state of society and the inclusiveness and political correctness just didn't fare well on the screen. It was too forced and desperate from writer Chuck Hayward.

The comedy in the movie fell flat and I actually weren't brought to laughter even once throughout the course of the 99 minutes that the movie ran for.

I actually wasn't familiar with a single actor or actress on the cast list. And that is actually usually something I do enjoy in movies, but it just didn't play out all that well here, because of the stereotypical character gallery, annoying music and general pointlessness of the entire movie.

Wow, the music in this abysmal remake of a movie was atrocious. I absolutely loathed the music that played throughout the course of the suffering that was the 99 minutes that the movie ran for.

If you've ever watched the 1991 movie from director Stephen Herek, then stick with that one, and just completely ignore and look past this 2024 remake, because it was a dumpster fire. However, if you haven't watched the 1991 movie, then you might actually find something watchable here, I guess. I just didn't enjoy this movie.

My rating of this utterly pointless remake lands on a generous two out of ten stars. Seriously? Why remake the 1991 movie?

Came across this movie on a list of remakes in 2024. I didn't make it half way through the movie. Just so bad.

Read a summary of the end and I was glad I skipped it.

The remake wasn't needed at all. It falls in line with a long list of updated remakes that just fall flat.

Nothing of substance was added by remaking a cult classic.

The problems and issues from the original don't translate well in an updated movie.

Acting wasn't great. The movie felt like a launching pad kinda a movie that had too many failures to launch.

Having Danelle Harris make a cameo was a nice call back to the original.

Wade Allain-Marcus has directed the reboot of 1991's "Don't Tell Mom the Babysitter's Dead." It's unclear why he bothered.

In the update, Tanya (Simone Joy Jones - fresh from "Bel Air," another retread) is seventeen and the oldest of four siblings. After a meltdown at work, their mom is sent to a resort for some mandatory R&R. Sure. Happens all the time. The kids are left in the "care" of an elderly, pistol-wielding maniac who promptly passes away. Right. Rather than bothering their mom, the kids decide to dispose of the body and fend for themselves. Of course they do. With the help of her siblings, Tanya lies about her age, gins up a fake résumé and gets a job at a company specializing in fast fashion. Uh huh. Desultory observations about adulthood, responsibility and getting by financially dribble out after that.

In the original film, the lead role was played by Christina Applegate, an actual teenager, who was in the middle of an eleven-year run on "Married... With Children." Her interactions with Joanna Cassidy, who played the owner of the fashion company, were the most redemptive elements of a film that was panned by the critics. A high-water mark was a critic labelling the film "amusing fluff." (It got a 35 score on Metacritic.) Inexplicably, the reboot hews closely to this marginal original story. The only novel element in any of this is that the family at the center of the story is Black.

The casting here is uneven. Jones, who plays Tanya, is twenty-five years old. She struggles to be convincing as a seventeen-year-old. However, her charm and effervescence give the film what little energy it's able to generate. As the two youngest siblings, Ayaami Sledge and Carter Young are cute, cuddly, chatty and clever. On the other hand, portraying the role of the lead fashionista is Nicole Richie, who has made a career out of being the daughter of singer Lionel Richie and the sidekick of Paris Hilton. With practice, diligence and hard work, her acting could someday rise to abysmal. Today is not that day. She and some of the other cast members say their lines and then pause a beat, apparently hoping for a sitcom laugh track to bail them out. Help does not arrive.

This is a film with limited aspirations that are underachieved.