From the outset of Amazon Studios’ new “Cinderella” movie, writer-director Kay Cannon welcomes audiences into a fantasy unlike any before it, putting a glimmering girl-boss gloss on the oft-adapted…
welcomes audiences into a fantasy unlike any before it, putting a glimmering girl-boss gloss on the oft-adapted fairy tale. In this heightened unreality, characters can break into song with a Janet Jackson chart-topper as easily as they belt out a new Broadway-style power ballad. This latest retelling of the Charles Perrault classic offers a feminist-friendly update as its titular heroine dreams of a career, not a man, to whisk her away.
Meanwhile, potential soulmate Prince Robert is trapped in a life he’s reticent to lead as his arrogant father King Rowen and kindly mother Queen Beatrice are demanding that he find a bride and take the throne. He’d rather slack off with his band of merry men than marry and wear the crown. His smart sister Princess Gwen is the more suitable sibling to lead the kingdom, except she’s up against unabashed male chauvinism guiding the king’s call.
Cannon takes great craft and care to ensure that her heroine’s internal and external motivations serve to drive the story forward. 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 .
Lavish musical set-pieces, this film’s bread and butter, fail to immerse or transport audiences as intended. Though designed to conjure energy and bewitching wonderment in their design, there’s a pervasive lack of aesthetic intrigue and individual identity. These numbers are exhausting, not enthralling.
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