Don’t Tell Mom The Babysitter’s Dead Review: This Decent, Fun Remake Can’t Beat The Original’s Charm

Don’t Tell Mom The Babysitter’s Dead, the 2024 remake of the beloved 1991 cult classic comedy, attempts to bring the quirky charm of the original to a new generation. Starring Simone Joy Jones, Jermaine Fowler, and Nicole Richie, this modern revisioning aims to capture the lighthearted spirit that made the Christina Applegate-led film a fan favorite. While the remake offers a fun, nostalgic moment for fans of this forgotten 1990s kids’ movie, it struggles to enhance or elevate the brilliant charm that made its predecessor so memorable.

The film’s strength lies in its ability to reference the 1991 version. However, for those seeking a truly satisfying comedic experience, rewatching the original may prove to be a more rewarding choice. The remake’s reliance on our suspension of disbelief, coupled with its inability to fully capture the magic of the simpler times of the early ’90s, makes it a less compelling standalone film. While Don’t Tell Mom the Babysitter’s Dead provides a feel-good experience for those in the mood for a bit of absurdity, it falls short of surpassing the original’s enduring appeal.

Don’t Tell Mom The Babysitter’s Dead Delivers A Perfect Balance Of Old & New

The remake does a good job at referencing the original, while making it its own

This fun, but unnecessary remake manages to strike the perfect balance between paying homage to the original and introducing fresh elements for a new generation. Shot in the same house used in the original, a fun nostalgic callback, the film maintains originality while infusing updated elements and scenarios for a more streamlined narrative. For instance, the youngest sibling from the original, Walter, is merged with the character of Zach, and the younger sister, Melissa, is a tech genius who helps create Tanya’s new identity. The movie incorporates enough modern touches without overdoing it, emphasizing the timeless nature of the premise.

Significant efforts have been taken to provide a more detailed and somewhat convincing explanation for the mother’s long absence. While the original seemed to suggest she was simply spending time with a boyfriend, the remake offers a more nuanced backstory, with the mother experiencing a nervous breakdown after a mishap at work. Sure, there could have been more plausible reasons explored for a parent needing to travel abroad for an entire summer without her children, but the original element of absurdity remains, continuing the charm and silliness of the 1991 classic.

Don’t Tell Mom the Babysitter’s Dead truly succeeds in catering to fans of the original, showcasing a strength that shouldn’t be overlooked when it comes to the art of the remake. Many will be excited to find that some of the most iconic quotes from the 1991 version are cleverly woven into this updated script, such as “I’m right on top of that, Rose” and “The dishes are done, man.” These callbacks serve as a fun nod to the film’s roots while seamlessly incorporating an updated narrative.

The Best Parts Of The Original Don’t Tell Mom The Babysitter’s Dead Are Afterthoughts In The Remake

Important themes and characters aren’t utilized to their full potential

While the remake of Don’t Tell Mom the Babysitter’s Dead does a decent job at paying homage to the original, it falls short in capturing the essence of some of the most beloved aspects of the 1991 film. One of the most notable disappointments is the portrayal of Rose, a standout in the original. Originally played by Joanna Cassidy, Rose Lindsey was kind, lighthearted, and made adulthood seem fun and glamorous, essentially serving as a role model for the young protagonist.

Nicole Richie, who was tasked with filling these big shoes, delivers a decent performance, but ultimately fails to fully embody the spirit of the original Rose. Despite her efforts, Richie’s acting often feels forced, and it becomes apparent that she may not have thoroughly studied Cassidy’s portrayal in the original film, nor truly made the role her own. However, a brief, but great and fun cameo from Cassidy provides a glimmer of forgiveness for Richie’s shortcomings, but it’s not enough to completely compensate for the lack of depth in her performance.

Another crucial element that feels like an afterthought in the remake is Tanya’s passion for fashion. In the original, fashion was a central theme, with Applegate’s character, Sue Ellen, possessing a love for it that was a driving force behind her actions and decisions, particularly her pursuit of a job at a fashion company. Her dedication to fashion was palpable, and it served as a defining characteristic that made her relatable and endearing. However, in the remake, fashion takes a backseat, feeling more like a superficial addition rather than an integral part of Tanya’s character.

Don’t Tell Mom The Babysitter’s Dead can definitely be an enjoyable, quick watch for those who are willing to suspend disbelief and have prior knowledge of the original film. The modern updates and callbacks to the original provide a sense of nostalgia for fans of the 1991 version. However, for those unfamiliar with the source material or expecting a more substantial update, the remake may feel more like a made-for-TV movie better suited as background noise. While it’s a valiant effort, the remake fails to deliver the same level of charm, humor, and heart that made the original so memorable.