WHAT’S IT ABOUT
Seventeen-year-old Tanya Crandell (Simone Joy Jones) can’t wait to spend the summer living it up with her friends in Spain before heading to Howard University in the fall. But when her mom (Ms. Pat) decides to head to a much-needed wellness retreat in Thailand, Tanya is forced to stay home with her three siblings instead. Following the unexpected death of their elderly babysitter (June Squibb), Tanya gets a job working for the confident and ambitious Rose (Nicole Richie). Juggling work, family, and a complicated romance, Tanya faces the responsibility of adulthood at the cost of her summer of freedom.
MOVIESinMO REVIEW
Don’t Tell Mom the Babysitter’s Dead is a modern retelling of the 1991 original. This time, the story centers on a Black family, offering a fresh perspective to a classic narrative. The film follows seventeen-year-old Tanya Crandell (Simone Joy Jones), excited about her upcoming summer vacation in Spain with her friends. However, her mother (Patricia Williams) suffers a mental breakdown after losing a promotion to a younger, whiter male colleague. As a result, Tanya’s budget is redirected to pay for her mother’s summer-long R&R stay, leaving her stuck at home with her siblings. To care for the kids, Mrs. Crandell hires an elderly babysitter, Ms. Sturak (June Squibb). However, Ms. Sturak turns out to be anything but sweet and caring, as she makes crude and racist comments to the children. One night, the siblings throw a wild party disguised as a “Bible study” session, which leads to the babysitter’s death. The kids are responsible for hiding the body and caring for themselves for the rest of the summer. As the eldest and most responsible person, Tanya uses her resourcefulness and creativity to create a 25-year-old persona for herself and land a job at Libra, a fashion company run by the ultimate girl boss, Rose (Nicole Richie). Tanya must navigate office politics, adult responsibilities, and a new romance while trying to keep her fake identity a secret. The film’s script, written by Chuck Hayward, Neil Landau, and Tara Ison, is filled with hilarious one-liners evenly distributed among the cast. The humor ranges from the delicacies of being young Black kids in a wealthy white neighborhood to Tanya’s manufactured identity and adjustment to the 9-to-5 lifestyle. Kenny’s love for weed and Melissa’s fascination with true crime also provide some familiar comedic archetypes for the film. However, the execution sometimes falls short, with some jokes losing their impact due to poor line deliveries and disjointed performances. Nonetheless, Simone Joy Jones delivers an impressive performance in her first leading role. Her portrayal of Tanya showcases a range of emotions, from stoicism to personal and professional confidence, and highlights her growth as a character throughout the film. The sibling ensemble is also believable in their moments of union and annoyance, with Donielle T. Hensley Jr. providing reliable comic relief. Tanya’s employee-employer relationships with Rose and her romance with aspiring architect Bryan (Miles Fowler) get more screen time than those with her siblings, making the film more of a character study of Tanya than of the family as a whole. Despite this, Fowler and Jones’ chemistry feels natural, capturing the complexities of young, insecure, and poorly communicated relationships. While Don’t Tell Mom the Babysitter’s Dead is laid-back and funny, it ultimately misses the mark with some of its swings. The film has all the right components, eliciting a few chuckles and an actual investment in its characters. While Don’t Tell Mom the Babysitter’s Dead is funny and enjoyable, it lacks the necessary formation to make a lasting impression.
OUR RATING – A LACKLASTER 4.5