Menzel belts out her mezzo-soprano, and Cabello tries to keep up with Autotune.
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The movie is fittingly bookended by an ensemble rendition of Jennifer Lopez’s ' Let’s Get Loud.' Cabello doesn’t lose her glass slippers as much as she throws it at those trying to get her to marry the prince. Framed by the conceit that this iteration of the fairy tale has been recontextualised by 21st-century gender politics, Cinderella gets quite shouty about it. But he finally learns to respect her ambitions, and discovers they can still be in harmony. She doesn’t want to choose between love and career. Ella and Robert are initially out of tune with each other. His sister, Princess Gwen (Tallulah Greive), does though. Waiting for her at the ball is Robert (Nicholas Galitzine), a prince who doesn’t want to be king. Billy Porter shows up in a gilded gown as Fab G, a genderqueer fairy godparent. So she needs her deus ex machina to help her a little. In the original song ' Million to One,' Ella sings about the chances of her dreams coming true. But she still treats each of her daughters as a way to elevate her family’s social status. She is still an orphan mistreated by her stepfamily, whose canonical evilness is softened a little. She doesn’t need true love as much as a willing VC ready to back her label - “Dresses by Ella” - in a time when the idea of a businesswoman was laughed at. One of the subversions involves Ella’s aspirations, which aren’t royal but entrepreneurial. While some renditions give a sense of immediacy to classics like Queen’s ' Somebody to Love,' songs like Ed Sheeran’s ' Perfect' deal in too generic emotions to aid clear characterisation. Pop songs are written in a different context, unlike musical numbers which are written with the narrative in mind. But repurposing existing songs to carry the storyline gets clunky at times. Complete with aside glances, it embraces the artifice of the musical as characters abruptly launch into pop hits. Her approach is anachronistic, self-consciously so. Nearly every directorial choice is at odds with what is essentially a delivery system for plug-and-play pop numbers.Ĭorden will no doubt be glad to find out which ones lend themselves more easily to Carpool Karaoke.Ĭannon brings out her Pitch Perfect playbook as she subverts some stereotypes that have long been the fairy tale’s stock and trade. And despite her adequate pipes, this is a disharmonious experience. The Cuban-born American singer-songwriter has always had a flair for drama. Kay Cannon’s follow-up to her riotous debut Blockers was supposed to be a Camila Cabello showcase. Welcome to the jukebox musical version of Cinderella, sponsored by Singer sewing machines. Pierce Brosnan’s King Rowan and Minnie Driver’s Queen Beatrice sing about how he’s been a “numbskull.” Idina Menzel’s stepmother, determined as ever to marry her daughters into money, rationalises it with a Madonna classic: ‘‘Cause the boy with the cold hard cash/ Is always Mister Right/ ‘Cause we are living in a material world/ And I am a material girl.” The palace ball features a disastrous medley of Salt-N-Pepa’s ' Whatta Man' and The White Stripes’ ' Seven Nation Army.' Corden voices one of three CGI mice, who are excited to find out they have “front tails” when they are magically turned into humans. There are moments where you aren’t watching the movie as much as enduring in dazed disbelief.
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If the trailer, that cringe clip, and a mouse-costumed James Corden’s aggressive pelvic thrusting at Los Angeles drivers weren’t red flags, let’s assure you: Camila Cabello’s Cinderella is banana-ooh-na-nas. Cinderella movie review: Camila Cabello musical is a shoe without a soul
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