Cruella Review: The story of Disney’s latest criminal is the style of “lukewarm” for substance

Cruella is cruelty without a purpose or soul should not be surprising. After all, the others in the long queue of nostalgic mining IP and better works than the Disney past more than happy to continue to come out. Hollywood is an industry that is too myopic to understand its past and too inert to move to a more dynamic future artistically.

But that’s the way this warm film operates, which makes it beat fast.

The pleasure of Cruella de Vil – first voiced by Betty Lou Gerson on the 1961 animation adaptation and then played by Glenn Close in the 1996 live-action film – is an outrageous style and cruelty. He is a woman who intends to skinning Dalmatians, making himself a coat.

Here, Cruella, played by Emma Stone, softened and made aspirational. He was given a loyal pooch as a best friend. So you know for sure he won’t kill your animal for the sake of fashion. Although there are jokes that dip about skinning Dalmatians nodded to the beginning.

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The film starts with the birth of Cruella, describes the stack half black and half white as natural than aesthetic choices. Estella was born. We saw a big plot of his teenagers in the mid-’60s when Tipper Profocious Seifert-Cleveland played him.

He framed like a Relier-rouser who doesn’t know what to do with it. He began fighting at school preparation. He is lonely; His best friend is a loyal puppy. He found left by his side.

What divided his life in two was his mother’s death:

And thick plantation by several (CGI). Dalmatians initially pursued Estella. He blamed himself for his mother’s death and made his way to London, where he fell with Jasper (Joel Fry) and Horace (Paul Walter Hauser).

They became a lifelong friend, took him to their world with grudges and small enlightenment. Most films took place against the London background in the 1970s, mining this setting for various rival rebellions and dynamics.

Finally, he took a job that worked for Baroness (Emma Thompson), a Connific designer. As a stagnant and fashionable because he was cruel to his staff. Estella saw him as a mentor but grew angry.

When he learned more about his terrible boss behavior. He is a child killer who did not repent, among other atrocities. When Estella decided to become Cruella, she set her views to seize Baroness as a designer.

Cruella, film and character, posture with punk sensibility off-shelf, as if Disney can accommodate even matching echoes when it is the dominant culture itself.

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If you look carefully, Cruella shows a culture that pretends to be criticized: the central character is a white woman whose concern and politics begin and ends with itself. She’s a boss girl pretending to fight against the power that happened. He did not want to overthrow so many establishments. 

Cruella took one of the wealthiest archetypes of narratives – crazy – and cut it into shiny monsters, hollow, capitalism triggered by the politics of women-bosses. There is nothing that can say about how women move through the world.

It’s hard to know where to start with the aesthetic failure of this film.

There are odd choices, such as insistence to deliver information through the newspaper news superimposed on a scene. The scene at night made me wonder whether Nicolas Karatansani’s cinematographers forgot how to burn correctly to convey information. This mainly frustrated the film climax, which was very pale and gray; I could barely see the details.

Drop needles are very confused. They feel weird. It’s of no use or random as if to show off the depth of Disney bags.

Or in the case “these boots were made to walk” – who played when Cruella was drunk on her boss’s whiskey and redesigning the window at the Liberty of London Store out of anger – a way to drive at a thin Pop-feminist Temip house.

The costume design, led by Jenny Beavan, is sometimes beautiful. It takes a signal from Vivienne Westwood and Alexander McQueen’s works, lends the Cruella air punk and baronesses of hard quality.

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There is RIM Taffeta Crimson. Made the hair of the Cruella trademark into a crown. Dashing gold collar frame his face and shoulder. There are slinking dresses, towering heels, thick bodies with jewelry, and boning. But all of this beauty feels inert because of the service of stories that feel confused. About what they want and who is the character at the center.