IN BRIEF: Wonderful over-the-top costumes and deft comic performances make this movie lots of fun.
JIM'S REVIEW: (RECOMMENDED) Every legendary villain (or villainess) needs an origin story to justify their fame and notoriety. It's a Hollywood tradition. One need only see their cinematic backstories in many films that honor the likes of Hannibal Lecter, Darth Vader, Norman Bates, Nurse Ratched, or the Joker to rectify the issue. Disney is always keen on resurrecting their baddies with updated versions of Maleficent and the Queen of Hearts to keep up the tradition alive. Hence it comes to reason that Cruella de Vil must get her fitting entitlement...and she does in this very entertaining family fare.
So let me begin by saying I loved, loved, loved the outlandish costumes in Cruella, the real star of the movie, and that is, in no way, a put-down of the movie! Send the Oscar directly to Jenny Beavan...STAT! Her artistry is dazzling. Each outfit has its own special theatricality and seems to evoke many designers from that era...as if they had gone stark raving mad. (I particularly loved the garbage ensemble with its lavishly long train and her large-scale head-to-limo evening gown.) Ms. Beaven's ability to exaggerate her kitschy outfits and make them haute couture chic, plus her mix of fabric patterns, immediately establishes the characters' traits and puts the whole film wonderfully off the rail, as it should. (Brava to the hair and make-up design by Nadia Stacey too.)
That said, this film itself is a joyous romp, a raucous comedy made more for adults than kids. The movie follows a young precocious and fashion-minded Estella as she grows in adulthood to embody that infamous evil mastermind, complete with her own set of Dalmatians. However, the story takes a tad too long to get to that destination. Script-wise, the plot gets too convoluted and makes the misstep of earnestly trying to soften the vileness of the title character by providing some vulnerability and a rationale for her bi-polar behavior instead of embracing Cruella's pure evil.
Now Cruella de Vil has always been the epitome of avarice. She is the perfect frenzied quintessence whom one grew up loving to hate. Yet the screenplay by Dana Fox and Tony McNamara wants us to cast that image aside and sympathize with her plight rather than revel in her meanness. She has been morphed into a talented and ambitious lower class fashionista who has been bullied and victimized all her life by an unjust society and is only seeking to avenge her misbegotten existence. Her hard edges have been buffed clean. (There is also a third act reveal that seemed more like a contrived plot device than a well-earned twist.) A few more rewrites and some concise editing would have been warranted to streamline the storytelling, even though the writers do create vivid characters and their dialog has many good one-liners and sight gags.
Yes, there is a great deal to admire beside the grandoise top-notch production design and comic moments on display, especially whenever the two divas take centerstage. As, Cruella, Emma Stone is marvelous. Using her saucer-shaped eyes to her best advantage, she expresses the character's frustration and creative jags which mimic her avatar to maximum effect. However, the real villain in this reboot is Emma Thompson as Cruella's true nemesis, Baroness von Hellman. She out-Cruellas Cruella in her disdain and insensitivity to others. The actress steals the spotlight with her narcissistic snobbery and snide asides, delivering the film's ultimate comic performance. She, and surprisingly not Cruella, is the Queen of Mean and more than worthy foe. (Hopefully Dame Thompson will add another Oscar nomination to her resume.)
But there are many acting joys to experience beside the two unrestrained leads: As Jasper and Horace, Cruella's bumbling henchmen, Joey Fry and a superb Paul Walter Hauser are absolutely wonderful foils. John McCrea is Artie, an openly gay dress designer who brings the necessary pastiche to his/her role. (Uncle Walt might be tossing to and fro in his grave with the movie's pro-gay stance and unflinching outrageousness. Too bad.) Director Craig Gillespie gives his film the perfect 60's mod vs. Punk vibe and builds his characters' interrelationships with much style and glee. Everyone is a walking live-action cartoon who come to life as delightful incarnations of the Disney 1961 animated source.
Cruella is a wicked delight. (GRADE: B)
JIM'S REVIEW: (RECOMMENDED) Every legendary villain (or villainess) needs an origin story to justify their fame and notoriety. It's a Hollywood tradition. One need only see their cinematic backstories in many films that honor the likes of Hannibal Lecter, Darth Vader, Norman Bates, Nurse Ratched, or the Joker to rectify the issue. Disney is always keen on resurrecting their baddies with updated versions of Maleficent and the Queen of Hearts to keep up the tradition alive. Hence it comes to reason that Cruella de Vil must get her fitting entitlement...and she does in this very entertaining family fare.
So let me begin by saying I loved, loved, loved the outlandish costumes in Cruella, the real star of the movie, and that is, in no way, a put-down of the movie! Send the Oscar directly to Jenny Beavan...STAT! Her artistry is dazzling. Each outfit has its own special theatricality and seems to evoke many designers from that era...as if they had gone stark raving mad. (I particularly loved the garbage ensemble with its lavishly long train and her large-scale head-to-limo evening gown.) Ms. Beaven's ability to exaggerate her kitschy outfits and make them haute couture chic, plus her mix of fabric patterns, immediately establishes the characters' traits and puts the whole film wonderfully off the rail, as it should. (Brava to the hair and make-up design by Nadia Stacey too.)
That said, this film itself is a joyous romp, a raucous comedy made more for adults than kids. The movie follows a young precocious and fashion-minded Estella as she grows in adulthood to embody that infamous evil mastermind, complete with her own set of Dalmatians. However, the story takes a tad too long to get to that destination. Script-wise, the plot gets too convoluted and makes the misstep of earnestly trying to soften the vileness of the title character by providing some vulnerability and a rationale for her bi-polar behavior instead of embracing Cruella's pure evil.
Now Cruella de Vil has always been the epitome of avarice. She is the perfect frenzied quintessence whom one grew up loving to hate. Yet the screenplay by Dana Fox and Tony McNamara wants us to cast that image aside and sympathize with her plight rather than revel in her meanness. She has been morphed into a talented and ambitious lower class fashionista who has been bullied and victimized all her life by an unjust society and is only seeking to avenge her misbegotten existence. Her hard edges have been buffed clean. (There is also a third act reveal that seemed more like a contrived plot device than a well-earned twist.) A few more rewrites and some concise editing would have been warranted to streamline the storytelling, even though the writers do create vivid characters and their dialog has many good one-liners and sight gags.
Yes, there is a great deal to admire beside the grandoise top-notch production design and comic moments on display, especially whenever the two divas take centerstage. As, Cruella, Emma Stone is marvelous. Using her saucer-shaped eyes to her best advantage, she expresses the character's frustration and creative jags which mimic her avatar to maximum effect. However, the real villain in this reboot is Emma Thompson as Cruella's true nemesis, Baroness von Hellman. She out-Cruellas Cruella in her disdain and insensitivity to others. The actress steals the spotlight with her narcissistic snobbery and snide asides, delivering the film's ultimate comic performance. She, and surprisingly not Cruella, is the Queen of Mean and more than worthy foe. (Hopefully Dame Thompson will add another Oscar nomination to her resume.)
But there are many acting joys to experience beside the two unrestrained leads: As Jasper and Horace, Cruella's bumbling henchmen, Joey Fry and a superb Paul Walter Hauser are absolutely wonderful foils. John McCrea is Artie, an openly gay dress designer who brings the necessary pastiche to his/her role. (Uncle Walt might be tossing to and fro in his grave with the movie's pro-gay stance and unflinching outrageousness. Too bad.) Director Craig Gillespie gives his film the perfect 60's mod vs. Punk vibe and builds his characters' interrelationships with much style and glee. Everyone is a walking live-action cartoon who come to life as delightful incarnations of the Disney 1961 animated source.
Cruella is a wicked delight. (GRADE: B)