Cruella

Cruella โ˜…โ˜…โ˜…ยฝ

๐Ÿ‘๐Ÿผ FASHION HEIST ๐Ÿ‘๐Ÿผ
๐Ÿ‘๐Ÿผ FASHION HEIST ๐Ÿ‘๐Ÿผ
๐Ÿ‘๐Ÿผ FASHION HEIST AT LUNCH ๐Ÿ‘๐Ÿผ

When 101 Dalmations originally came out in 1961, Disney was at a serious crossroads for its animation studio. The practice of โ€œxeroxingโ€ animation to cut down on costs had just been rolled out, putting the contemporary adaptation of Dodie Smithโ€™s 1956 novel in real jeopardy of being perceived as a serious step down in quality when it came to the crisp, considered details that had defined the studioโ€™s golden age. But the film ended up being innovative in other ways, mainly in how it effectively modernized the typical Disney feature film, setting a new standard for how the studio could put out movies that look and feel attuned to a heightened version of our more recent reality.

Cruella sort of does this, too, but with the last decade or so of Disney live-action remakes, many of them brimming with style and technical bona fides, but seriously lacking a justification for such an effort, at least when it comes to their stories and characters. Just going by that criteria, Cruella smokes the competition, mostly on the shoulders of its instantly iconic anti-heroine portrayed by Emma Stone.

In the original animated movie (and, by extension, the 1996 live-action remake), Cruella is a dashing, fittingly devilish fashion obsessive who craves to skin the coats of Dalmatians because, well, sheโ€™s cruel and narcissistic. Cruella, from director Craig Gillespie, mostly buries this aspect of the villainโ€™s psyche by giving more time to explaining her ascent (or descent?) to becoming a fashion superstar from extraordinarily humble beginnings.

Full review for Cinemaholics: cinemaholics.com/cruella-review/

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