For an idea that’s been trotted out multiple times across several decades, “Freakier Friday” has no business having any further relevance. And yet, for the right audience, it’s exactly the kind of entertainment we need today.

More than 20 years after an unusual encounter that saw them switch bodies, mother and daughter Tess and Anna Coleman (Jamie Lee Curtis, Lindsay Lohan) have found an agreeable equilibrium in their family life and in how they raise Anna’s teenage daughter Harper (Julia Butters).

Sure, Tess may be a little overbearing in her psychoanalytical approach to being a grandma and Anna may not always know how to handle her kid’s drastically different personality, but it works well enough for them.

But, when Anna falls for a handsome widowed dad (Manny Jacinto) with his own rebellious teen, Lily (Sophia Hammons), the family dynamic is thrown off entirely, namely with two girls who have no interest in being sisters.

As the wedding approaches, a meeting with a shady fortune teller (Vanessa Bayer) at the bachelorette party results in Tess, Anna, Harper and Lily making a four-way switch that may be familiar with the older women but terrifying to the young’uns as they try to navigate each other’s lives.

Already an icon when she starred in the 2003 film, Curtis shows she is a comedic gold mine at any age, again spouting lines about just how old and craggy she looks when she’s got the mind of a vapid teenager, in this case her future step-granddaughter. Spouting posh Brit-speak with an American accent, she gets a bevy of costume changes across the runtime and rocks every single one of them.

Lohan makes a welcome return to the role that helped make her a household name in the early 2000s, now playing a music executive who’s accepted life out of the spotlight after a brief moment of fame with the rock band that meant everything to her when she was a starry-eyed kid. Now that the tables have turned on Anna by having her body inhabited by her daughter, it’s weirdly fitting that Harper wants to derail the upcoming wedding, a step that was one move too far in the original movie.

We gotta raise the stakes somehow, right?

Though they’re not given the same prominence as Lohan got back in the day, Butters and Hammons make the most of acting like a thirtysomething and sixtysomething, respectively, taking full advantage of younger bodies and more notably, younger metabolisms — Cotton candy and churros for everyone!

For the biggest fans of the Disney classic, there are plenty of callbacks to that beloved installment with more guest appearances than you’d expect — as well as one that hearkens to another of Lohan’s entries from the House of Mouse — as this long-awaited sequel works to be both nostalgia-driven and have a fresh message.

While the story is at its weakest when it tries to recreate the magic of the past — don’t forget, the 2003 version is only one take on Mary Rodgers’ book with another feature film and two TV movies bearing the “Freaky” name — there’s a self-awareness at play that pays off the longer they go, especially in how it frames its two lead actors.

Since they last shared the screen, Curtis has won an Oscar and Lohan has had… a lot of experiences, to say the least. The former doesn’t need to revisit her past, while the latter absolutely needs to return to the well at this point.

Yet, they each approach this project with a certain joie de vivre of a reunion they are appreciating every step of the way, and Jordan Weiss’s screenplay doesn’t reinvent the formula so much as take it in a new direction.

After all, how deep can it possibly get?

Tess and Anna’s unusual day in each other’s shoes way back when supposedly means they have nothing left to learn as mother and daughter at this point, but when the predicament is structured as a know-it-all Boomer grandparent mixed with an overworked Millennial parent and flipped with two hot-headed yet disparate Gen Z personalities, the result almost accidentally turns into a parable about communication among the generations and the shared experience of everyone finding new grounds for understanding.

And yes, Gen X, you get the small window of recognition you crave.

The potential downfall of “Freakier Friday” is that it’s bound to feel — to the more pessimistic crowds, anyway — like a cloying cash grab with recycled plot in a familiar IP.

But Disney also knows how to make these kinds of ventures worth the price of a ticket, even if they need to remind people of how simple it can be to just have fun with a ridiculous premise.

If you adored Curtis and Lohan the first time around, you’re going to want to see — perhaps begrudgingly — how well they jive together as a comic duo years later.

In any other movie, devoting so much time to a gratuitous fashion montage right in the middle of the story would feel like a waste, but here it’s downright necessary.

There’s something comforting in that.