Freakier Friday: Maybe It Was Freaky Enough the First Time?
If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.

Having worked himself out of grinding poverty, grouchy millionaire Lorenzo Todd adopts a chip-on-the-shoulder attitude concerning the rest of Mankind. The only people Todd truly cares about is his son Warren and his boyhood chum Dudley Phillips. Eventually, however, the old sourpuss manages to alienate these two people as well. T
If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
This reboot of The Wonder Years is told from the lens of a Black man.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.