Lilo & Stitch is an experiment producing mixed results. With a star making performance from Maia Kealoha and glimpses of director Dean Fleischer Camp’s charm, the film suffers from budget constraints, some miscasting, cultural insensitivities, and a lack of creative risks that will leave fans questioning the point entirely.

The new live-action adaptation of Lilo & Stitch, this time directed by Dean Fleischer Camp, arrives with most of the hallmarks of Disney’s recent remake machine – occasional charm, a few polarizing creative choices, and a lingering question of whether this needed to exist at all. To its credit, this version is one of the better live-action remakes the studio has churned out in recent years, although the bar for that title remains annoyingly low. Luckily, the film retains some of the heart of the original story with some great performances and even tiny tugs at the heart strings thanks to Camp’s directing charm,  but fans expecting the same wild energy, vivid world building, and heartfelt messaging that was absolutely visible in the original 2002 animated film may leave disappointed. 

When it was first announced that Disney was even going to attempt at adapting Lilo & Stitch into live-action, there was chatter and justifiable concern about the portrayal of Lilo. Thankfully, newcomer Maia Kealoha is the film’s not-so-secret weapon. In her film debut, she is a force to be reckoned with, possessing the wide-eyed wonder, comic timing, and a natural charisma that feels completely unforced. Kealoha’s natural abilities as an actor at such a young age may remind film goers of the likes of Keke Palmer in Akeelah and the Bee, Brooklynn Prince in The Florida Project, or Quvenzhané Wallis in Beasts of the Southern Wild. Kealoha, a hula dancer and absolute cutie pie, was born and raised on the Big Island of Hawai’i and brings such emotional authenticity to every scene. She carries the film with such confidence for a first-time actor and grounds the movie even when it falters elsewhere. The film’s overall magic rests nearly entirely on her tiny shoulders, and she proves more than capable of holding that responsibility. 

The supporting cast is, for lack of any better words, a mixed bag. Zach Galifianakis is entirely miscast here as Jumba. Where the original character had a surprising emotional depth masked by his comedic bluster, here he feels like a stale joke with no punchline. Jumba’s arc has been watered down and changed entirely – due to the lack of a budget to adapt the original animated villain Gantu into live-action – stripping away the redemption and nuance that once made his character compelling. His Russian accent is gone here, although I’m not sure if that was a creative choice to be more culturally sensitive, but that is minor in comparison to how bland the usually funny Galifianakis is. On the brighter side, Billy Magnussen unexpectedly steals several scenes as the delightful Pleakley, sidekick (or partner) of Jumba. He brings a much-needed jolt of energy and laughs opposite whatever Galifianakis is doing. Noticeably, Pleakely’s gender-bending disguises when trying to blend in with the humans is severely neutered here. Camp has stated that he tried very hard to have Magnussen get his Some Like it Hot on, and in the political climate we are in right now, it is understandable why many fans are upset by the studio not allowing that. The costume department tries very hard, often having Pleakely in just a mismatch of costume choices, but again, Magnussen is up to the task with his comedic timing and facial expressions.

The character of Nani in this version has elicited the most divided responses and rightfully so. Regarding the casting of Sydney Agudong (of Native Hawaiian, Filipino, and European heritage), it is important to acknowledge the conversations and accusations of colorism, a plague all to common in the film industry, while also not minimizing someone’s Native heritage, particularly when knowing the history of the United State’s Government’s failed attempt to shrink the population. Regardless, Agudong (born and raised on the island of Kauai) isn’t given that compelling material to work with as this adaptation has Nani girl-boss too close to the sun, she loses the genuine heart and likeability the 2002 version possessed. The decision to have Nani relinquish her guardianship of Lilo over to her neighbor Tūtū (a new character for this film, portrayed by the always great Amy Hill) was not set up or executed properly and, again in today’s political climate and knowing this country’s history of mistreatment towards Native people, it’s easy for the ending to leave a sour taste. 

Director Dean Fleischer Camp is best known for his masterpiece Marcel the Shell with Shoes On, where he received an Academy Award nomination for Best Animated Feature. Here, he does his best to infuse the movie with his distinctive voice, and while glimpses of his storytelling style peek through – specifically in the quiet moments between Lilo interacting with Nani and/or Stitch – they’re constrained by the strict framework of Disney’s IP management. One may sense him pushing against the studio-mandated boundaries, but the end result still feels cautious and heavily sanitized in order to sell more Stitch merchandise and get more people to make reservations at Disney’s Hawaiian resorts. The aforementioned budgetary limitations are apparent too, particularly in the noticeable lack of alien characters which longtime fans will likely find disappointing. 

Ultimately, Lilo & Stitch is a curious hybrid: it doesn’t fully please older fans who grew up with the original, nor does it push the boundaries just enough to stand apart on its own. However, if kids find joy and laughter in it – and if Maia Kealoha’s performance becomes the launchpad for a long and bright career – then perhaps this film is not a total loss. Lilo & Stitch 2025 is no experiment gone awry, just an adaptation that doesn’t quite find its voice.

Grade: C

Oscar Prospects:
Likely: None
Should Be Considered: None

Where to Watch: PVOD