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He’s vivacious, vibrant and knows precisely how to deliver a satisfying “well, well, well” - so much so that younger audiences might assume he invented its usage. She and Galitzine share a sweet, chaste chemistry. Cabello is a magnetic screen presence who demonstrates a natural sense of comedic timing, infusing her character with vulnerability, compassion and effervescence. While some of the material sags, a few performances uplift the indomitable spirit of the time-honored tale and its refashioned sentiments.
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The wonderful wardrobe is valued for its poignancy and power in the creation of Ella’s magical ball gown, only to be undermined in later scenes, as the film plows through palpable moments like Ella’s designer debut. Composed like music videos, with quick, sharp cuts alternating between wide and medium shots, these sequences do a disservice to Ashley Wallen’s wonderfully anachronistic choreography and Ellen Mirojnick’s breathtaking costumes. These numbers are exhausting, not enthralling. Though designed to conjure energy and bewitching wonderment in their design, there’s a pervasive lack of aesthetic intrigue and individual identity. Lavish musical set-pieces, this film’s bread and butter, fail to immerse or transport audiences as intended.
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It’s clear Ella is the underlying force inspiring change in these folks, but the reasons instigating those changes defy logic. From the stepsisters (who are softened to the point of serving little to no purpose) to the members of the royal court (whose arcs are extraneous), practically everyone beyond Ella and Vivian suffers greatly from tissue-paper-thin character motivations that pivot on a whim, making the audience question why these superfluous story threads are there at all. The movie’s pacing is inconsistent, especially when it comes to character development, which can feel at once underdeveloped and overstuffed. Still, for all the innovative, intelligent decisions made, there are an overwhelming number of frustrating creative choices. Humanizing Ella’s tormenter in the process may seem ill-advised, but it winds up being one of the film’s blessed surprises. This showstopper hits like a sledgehammer to the glass ceiling that restrains them all. Their superficial struggle, surrounding class structure and wealth disparity, is assuredly still part of the tale’s DNA, culminating in an empowering musical number (“Dream Girl”) in which all the women, led by Vivian, join together to sing about the stifling, suffocating societal sexism they’ve endured.
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This modernized take has the sympathetic protagonist wrestle with a compelling conundrum, figuring out how Ella and her prince can continue to love each other while attaining their respective career ambitions (or hers, at least, since he maddeningly never verbalizes what he wants in that regard). As fate and Ella’s fabulous fairy godmother Fab G (Billy Porter) work their magic, conflicts surrounding her career goals surface, threatening to separate the dynamic duo.Ĭannon takes great craft and care to ensure that her heroine’s internal and external motivations serve to drive the story forward. Yet he meets true love Ella before the lavish affair is set to take place, first discovering her at the announcement ceremony and then later, in disguise, bumping into her at the marketplace, buying an evening gown from her. The plan is to throw a grand ball, with invitations sent to the entire kingdom, giving the reluctant royal ample options from which to select his perfect match. His smart sister Princess Gwen (Tallulah Greive) is the more suitable sibling to lead the kingdom, except she’s up against unabashed male chauvinism guiding the king’s call. He’d rather slack off with his band of merry men than marry and wear the crown. Meanwhile, potential soulmate Prince Robert (Nicholas Galitzine) is trapped in a life he’s reticent to lead as his arrogant father King Rowen (Pierce Brosnan) and kindly mother Queen Beatrice (Minnie Driver) are demanding that he find a bride and take the throne.