Freakier Friday Is Humiliating to Everyone Involved

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It appears that no one requested a sequel to the 2003 film “Freaky Friday,” a heartwarming, unexpectedly unsentimental intergenerational comedy where Jamie Lee Curtis and Lindsay Lohan, one a skilled comedienne and the other a rising star, portrayed a mother-daughter duo who swapped bodies for a day. However, over 20 years later, we have one: in “Freakier Friday,” Curtis and Lohan reprise their roles as Tess and Anna respectively. Tess is now a psychologist delving into podcasts, while Anna has traded her career as a rock star to raise her teenage child alone. Their relationship becomes strained when the teenager, Harper (Julia Butters), prefers surfing over spending time with mom. However, it’s the arrival of Lily (Sophia Hammons), a snooty student from London who plans to move to Los Angeles and flaunts her supposed sophistication, that Anna truly despises.

In the hilarious film “1 Swap Weekend,” I found myself marveling at a unique four-way body swap scenario that unfortunately seemed to dilute the comedy rather than enhance it. The characters Harper and Lily, played by Jamie Lee Curtis and Lindsay Lohan, find themselves inhabiting Tess and Anna’s bodies – an intriguing twist that allows the older women to indulge in limitless feasts without any health repercussions! They even get to ride scooters, which I imagine would be a thrill for anyone, regardless of age.

However, the teenagers are left grappling with the mortifying realization that they’re now stuck in adult bodies, and one of those adults just happens to be a senior citizen. Lohan, a talented actress whose career has seen its ups and downs, is saddled with a wardrobe consisting of allegedly chic yet in actuality dreadful teenage outfits. Curtis, on the other hand, displays an admirable patience as she navigates the film’s adult-diaper jokes and humor that leans heavily on senior citizen stereotypes regarding flatulence.

The movie “Freaky Friday” is criticized for being disrespectful to everyone and seems primarily created to capitalize on the affection many adults have for the original, despite lacking the original’s casual, insightful appeal. Unfortunately, “Freaky Friday” isn’t an exception; this summer’s movies, like in recent years, heavily rely on sequels and reboots, providing updated takes on familiar stories. The new “Naked Gun” featuring Liam Neeson and Pamela Anderson is one example, as is Adam Sandler’s return for a follow-up to “Happy Gilmore,” over two decades since the first one was successful. The “Jurassic Park” series has been resurrected with “Jurassic World Dominion.” Though the Marvel machine may have slowed, there’s still no shortage of comic book characters being reimagined multiple times: James Gunn’s new “Superman” in the DC universe, and Marvel’s “The Fantastic Four: First Steps.” It seems like Hollywood-or what remains of it-is attempting to transform us all into nostalgia-driven zombies.

Hollywood often refreshes itself by remaking films or releasing multiple versions of a movie each summer, and reimagining old material is one such approach. For instance, the film “A Star Is Born” has been remade numerous times over the past century, starting with the 1937 version starring Janet Gaynor and Frederic March, which was influenced by an earlier film, “What Price Hollywood?” from 1932. The most recent rendition, produced in 2019 by Bradley Cooper featuring Lady Gaga, is the latest installment so far. There’s always a new generation of viewers who haven’t seen the original movie, and an older audience that appreciates revisiting cherished material. Who wouldn’t want to recapture beloved experiences?

Despite the continuous growth in remakes and sequels each year, our current period seems more uninspiring than ever before. Traditionally, Hollywood has been a profitable industry with the goal of attracting audiences and making money. However, it appears that we’ve entered an era where financial gain is prioritized to an alarming degree. With many old studios now offering streaming services as well, the decline in theater ticket sales has led them to rely on viewers watching at home instead.

We have always had a mix of bad or substandard films alongside good, decent, and acceptable ones. However, today’s mainstream movies seem more hastily produced than ever before. It’s almost as though the studios/streamers creating these films are, through their disregard for quality, encouraging audiences to lose interest. We are currently experiencing a boom in “It’s alright, it’ll do” movies.

Perhaps it’s because film studios have put a lot of resources into presenting us with rehashes of familiar concepts, given that everyone appreciates a light-hearted movie, especially during the summer months. For instance, “Happy Gilmore 2” is remarkably stupid yet manages to be hilarious even when logic suggests otherwise – which, after all, is what humor is all about. Although the jokes in “The Naked Gun” may grow repetitive, Neeson and Anderson’s chemistry is commendable.

Despite the longing for the past, why can’t we embrace novelty? The overdose of nostalgia in movies isn’t doing us any favors. It seems like everyone is under the impression that things were better in the past, be it 4 years, 10 years, 20 years, or even 40 years ago. Financially, we were more prosperous; entertainment was more innovative and entertaining; overall, life seemed much more enjoyable. But where did all that joy disappear to? It’s only human to yearn for a return to that state of happiness, even though it might not have been as perfect as we recall. It’s no wonder the film industry believes recreating the past is their best approach.

These days, optimism seems scarce among many. While proponents of artificial intelligence, particularly in large corporations, advocate for its advancement, most participants in contemporary cultural discussions are wary of it due to concerns about suppressing human creativity. On the other hand, one could question the abundance of innovation in major or mid-budget studio films. However, in a broader perspective, there’s still hope: numerous filmmakers, both young and experienced, continue to produce independent films despite significant challenges. Additionally, studios like Neon and A24 are emerging, offering original and thought-provoking movies to audiences. Even imperfect films such as Ari Aster’s Eddington, a jumbled parable about the impact of the pandemic on American minds starring Joaquin Phoenix and Pedro Pascal, can feel like unique masterpieces. At the very least, it carries the unmistakable touch of human creativity.

Perhaps what films might benefit from most is daring to try unsuccessful ventures instead of sticking to safe choices. It’s challenging, but we must move past the notion that the past is a comfort zone. Now isn’t the moment to abandon hope for the future. The fate of our future past hinges on it.

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2025-08-08 18:06