Lilo & Stitch (Christian Movie Review)
Lilo & Stitch may not capture the manic energy and charm of the original, but it is a mostly faithful adaptation that builds on the animated version rather than seeking to reinvent it.
About the Film
Disney’s stubborn campaign to slap a live-action aesthetic on the entirety of its classic animated canon continues, but we may finally be reaching the bottom of that barrel. Arguably the best thing to happen to the Lilo & Stitch remake was being released in the same calendar year as the much-maligned live-action Snow White. The bar has been set exceedingly low. Far from expecting remakes to recapture the magic of the beloved originals, most audiences now merely hope for something mildly entertaining that won’t totally debase the legacy of the cherished animated films. With these modest expectations in mind, Lilo & Stitch is one of the better remakes. It may not capture the manic energy and charm of the original, but it is a mostly faithful adaptation that builds on the animated version rather than seeking to reinvent it.
The original Lilo & Stitch (2002) was a massive hit, and its central characters have become iconic in the Disney pantheon. Because it belongs to a later era of Disney animation, however, the film doesn’t hold the same deep nostalgia as other Disney classics. The original is a ton of fun and contains some wholesome messages, but it is mostly just an excuse to stage some comically destructive hijinks from Stitch. The relative simplicity of the tale makes it an easier story to adapt, avoiding the need for many of the “modern updates” that have derailed previous remakes. Disney is not trying to reinvent the wheel or tell a radically different story; it is merely swapping out the aesthetic and tinkering with some of the narrative details.
There are changes, particularly during a reimagined third act, but the remake remains relatively faithful to the original (the opening scene is an almost one-to-one re-creation). Thankfully, there aren’t too many moments that will cause viewers to groan and think, “Why in the world would they do that?!” At the same time, Lilo & Stitch clearly demonstrates that animation is not just a trivial narrative vehicle that can be swapped out without consequence. A significant factor in making the original film so delightful was its animation style. Even when faithfully adapting the original into live action, the realism of the remake strips the story of much of its charm and energy. Stitch’s destructive escapades are still entertaining, but they feel slightly more sinister when he is wreaking havoc on real people rather than on cartoon characters.
What does successfully translate into live action are the central characters. In her first career role, young Maia Kealoha is effectively adorable and spunky as Lilo. But the film’s standout is Sydney Agudong as Lilo’s older sister (and de facto mother), Nani. Despite some differences in characterization, she does justice to her cartoon counterpart (who is the unsung hero of the original). The sisters’ relationship is the beating heart of the film, even more so than the interplay between Lilo and Stitch.
Tonally, while there are plenty of silly moments, the transition to live action results in a more serious story than the relative flightiness of the original. Whereas the social service worker (and undercover CIA agent) Cobra Bubbles was largely comic relief in the original, that role has been split into two distinct characters for the live-action remake. As a result, the subplot of Lilo potentially being removed from her sister’s custody has much more emotional resonance and weight. At times, the film borders on being too serious, with the adult drama sometimes threatening to lose younger viewers’ attention, a problem the fast-paced original never had. Nevertheless, the relationship between the sisters is so endearing and positive that it is a worthwhile tradeoff that gives the remake a degree of maturity that the original—delightful as it was—lacked.
Unfortunately, adapting other characters to live action is not always as seamless. Stripped of his social service function, Cobra Bubbles—a scene-stealer in the original—makes no impact. More egregious are Pleakley and Jumba, the two aliens tasked with retrieving Stitch. When appearing as aliens, they carry over some of their charm (despite less-than-impressive CGI). But the remake introduces a plot device whereby the aliens use cloning technology that allows them to save the special effects budget appear as humans. Goofy animated aliens are amusing; grown men trying to act like bumbling fools is far less so, and their screen time quickly becomes a chore.
Overall, the reimagined Lilo & Stitch is not a fantastic film, but it clears the low bar set by Disney’s previous remakes. The film retells the familiar tale from a fresh perspective, expanding on the original rather than deconstructing it and rebuilding it in the image of modern sensibilities. Not every aspect of the film translates well into live action, but Stitch remains an amusing wrecking ball of chaos, and the relationship between Lilo and Nani is heartfelt and mature. The superior animated film will remain housed alongside the live-action remake on Disney+ for viewers who prefer the original. But given Disney’s recent lackluster track record, the remake provides a better-than-expected way to revisit these beloved characters in a new way. No, it’s not great. But it could have been a lot worse. At this point, that will have to do.
On the Surface—(Profanity, Sexual content, violence, etc.).
Language: There are 3-4 uses of “Oh my g—,” and one character says, “What the h—?” (One swear is minor in the grand scheme of things, but I continue to question the necessity of including any profanity in films like this.)
Violence: Only some cartoonish violence inflicted on non-human characters.
Sexuality: A man is shown in the bathtub, with his body concealed by bubbles. In the original, the alien Pleakley disguises himself by dressing in drag. That aspect has not been carried over into the remake (despite some online backlash). Although, in his human disguise, he does wear various articles of women’s clothing.
Engage The Film
Being Bad and Doing Good
Much of the film is about the nature of being a family. Lilo says, “Sometimes family isn’t perfect. That doesn’t mean they aren’t good.” Lilo and her sister bicker, but they also apologize and cling to their family bond.
On a broader level, the film explores the nature of sin and fallen human nature. Stitch is the genetic creation of an evil alien scientist. He was essentially designed to be a destructive weapon. Being “bad” is in his nature, but does he still have the ability to do good? That’s the crux of the film. Lilo attempts to teach him to be good, telling him, “You’re not bad. You just do bad things sometimes.”
As in the original, Stitch is largely a mirror for Lilo herself. Both are wild and uncontainable as a result of their circumstances. Lilo’s difficult behavior stems from her challenging upbringing and the loss of her parents. Like Stitch, she feels like being bad is in her nature, and she questions whether she will ever be good. The Bible teaches, “For all have sinned and fall short of the glory of God” (Romans 3:23). We are bad by nature. But as Lilo & Stitch demonstrates, we can still strive to do the right thing.
