It’s always thrilling to track the careers of emerging filmmakers, and in Wade Allain-Marcus’ reboot of the 1981 cult classic “Don’t Tell Mom the Babysitter’s Dead,” the director firmly establishes his creative prowess. From the opening credits to the final roll, Allain-Marcus infuses the film with a contemporary flair that’s hard to ignore. His transitions and establishing shots aren’t mere filler—they’re crafted to pull the audience into the atmosphere, making each scene a visual and emotional experience.
In this 2024 reimagining, the Crandell family is African American, a modern update that lends new layers to the original’s comedic premise. At the center is 17-year-old Tanya Crandell, portrayed with remarkable charm by Simone Joy Jones. Tanya’s plans for a summer in Spain with her best friends are abruptly canceled when her mother, played by the ever-compelling Patrixia Williams, suffers a nervous breakdown after being passed over for promotion by a white colleague.
Her mother’s resulting stint at a wellness retreat leaves Tanya at home, saddled with the unexpected responsibility of caring for her micro-dosing, vape-obsessed brother Kenny (Donielle T. Hensley Jr.), genius-level sister Melissa (Ayaamii Sledge), and distinctive, delightfully quirky younger brother Zack (Carter Young).
The twist comes with the introduction of their babysitter, Mrs. Stuark, brought to life by June Squibb in a role that subverts every expectation. Mrs. Stuark, recommended via Facebook, initially appears to be the quintessential cookie-baking, advice-dispensing grandmother. But instead, she’s rude, blatantly racist—imagine Karen’s grandmother, and you’ll get the picture.
When the Crandell siblings throw a “Bible study” (a thinly veiled all-night rager), the sight of the diverse group of kids in attendance sends Mrs. Stuark into cardiac arrest. With the sudden death of their racist babysitter, the siblings are thrust into the precarious situation of hiding the body of a white woman while figuring out how to fend for themselves over the summer.
At the heart of this comedic chaos is Tanya, who, despite her lack of responsibility, rises to the occasion with a little help from her sister and the magic of Canva. She reinvents herself as a 25-year-old job seeker with a fake ID and lands a position at the fashion company Libra, run by the ultra-chic Rose (Nicole Richie). As Tanya navigates the treacherous waters of office politics, juggles the complexities of her family, and embarks on a new romance, the film deftly balances humor with heartfelt moments.
Comedy is notoriously difficult to get right, but under Allain-Marcus’s direction, this reboot hits all the right notes. His framing is precise, his pacing modern, and the screenplay—penned by Chuck Hayward, Neil Landau, and Tara Ison—is a treasure trove of clever one-liners. The magic here lies in the script’s generosity: every character is given their moment to shine, with dialogue that is both sharp and layered. Kenny’s love of weed and Melissa’s true crime obsession resonate with millions, capturing the zeitgeist of their respective generations with a comic flair that feels fresh and authentic.
The 2024 “Don’t Tell Mom the Babysitter’s Dead” is poised to become a new comedy classic, thanks to its smart writing and Allain-Marcus’s confident direction. This film is more than just a reboot; it’s a testament to the power of reinvention and a reminder to keep an eye on Wade Allain-Marcus—big things are undoubtedly on the horizon.
https://www.youtube.com/watch?v=kd8EYLLWmhM
http://www.wadeallainmarcus.com/
