---
title: "Cruella"
year: 2021
kind: "film"
canonical: "https://film.one/film/cruella"
fi1m_id: "cruella"
imdb_id: "tt3228774"
tmdb_id: 337404
wikidata_id: "Q24284363"
fi1m_score: 66
critics_score: 61
critics_reviews: 27
published: "2026-10-03T02:02:21.112963+00:00"
updated: "2026-10-03T02:02:21.583104+00:00"
region: "CL"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Cruella (2021)

Directed by Craig Gillespie · 2h 14m · Comedy, Crime

## Identity

Cruella

- **Canonical:** https://film.one/film/cruella
- **Type:** Film
- **Fi1m ID:** cruella
- **IMDb ID:** tt3228774
- **TMDB ID:** 337404
- **Wikidata ID:** Q24284363
- **Same entity:** https://www.imdb.com/title/tt3228774/, https://www.themoviedb.org/movie/337404, https://www.wikidata.org/wiki/Q24284363

**Fi1m score: 66** · Critics 61 from 27 reviews

*In a sentence:* Emma Thompson has dressed for a fashion film and prepared for a disciplinary hearing

> Emma Stone and Emma Thompson make this fashion feud worth watching for the interested. The clothes are inventive, but a crowded origin story keeps explaining away the nastiness that might have made it more fun.

## Synopsis

The story follows Estella (Emma Stone), Jasper (Joel Fry) and Horace (Paul Walter Hauser) through 1970s London, where Estella wants to make her name in fashion. The Baroness (Emma Thompson) is the designer whose authority she must contend with. Estella has another name, Cruella, and an appetite for attention that leaves little room for accepting somebody else’s rules. Clothes offer her a way into the fashion world and a means of challenging its established authority, as her ambitions bring her up against a woman who does not welcome competition.

## Review

*Cruella* is an enjoyable fashion feud held up by an origin story that takes far too long to explain itself. Craig Gillespie has two actors capable of making professional spite funny, and the film is at its most entertaining when it leaves them to compete. Emma Stone gives Estella / Cruella the appetite of someone determined to be noticed; Emma Thompson makes The Baroness look offended that anyone else should want the attention. At 134 minutes, their contest acquires more history than it needs.

Emma Stone is good at making self-invention look like something the character enjoys doing. There is enough relish in her performance to keep Cruella interesting even when the screenplay starts doing the explaining for her. Emma Thompson has the easier task, since The Baroness is allowed to be unpleasant without continually requesting our understanding. Her contempt is funny because she treats it as ordinary good judgement.

We laughed at how seriously these women take the business of outdoing each other in clothes. The gowns make the absurdity convincing: after all that labour, we might resent being upstaged too. Costume designers Jenny Beavan and Samuel Coviello give the rivalry something worth looking at, and the clothes communicate ambition more briskly than the dialogue. Even when our interest in the story faltered, we wanted to see what Cruella would wear next.

Nicolas Karakatsanis’s cinematography gives that work the prominence it deserves, without making the actors seem incidental to the display. Fiona Crombie’s production design supplies elaborate surroundings that make the fashion world’s self-importance credible. The recreated 1970s London is enjoyable to look at, though it scarcely feels troubled by anything beyond the competition for attention. For all the film’s interest in punk styling, it is comfortable with the glamour it supposedly wants to disturb.

The screenplay by Tony McNamara and Dana Fox is less assured about what we should make of Cruella herself. Its determination to explain her risks making every unpleasant impulse sound like something for which an excuse can be found. We do not need a villain to be beyond sympathy, but we do need the film to allow her some responsibility for being objectionable. Too often, the backstory takes over just as Emma Stone has made the character entertaining without it.

Tatiana S. Riegel’s editing gives the fashion passages energy, yet the accumulation of plot keeps slowing the film down. The pace suffers whenever the rivalry has to wait for another piece of history. Nicholas Britell’s score is less distracting than the surrounding soundtrack, whose insistence on keeping things lively eventually becomes tiring. After a while, we wanted fewer musical cues and fewer detours.

As an origin story, this belongs to the school that would rather account for a villain than let us enjoy being appalled by her. That is a frustrating choice for a film with such willing performers and such good clothes. There is still enough pleasure here for anyone interested in fashion, extravagant egos and the comedy of professional resentment. Go for the two women trying to steal each other’s attention, and expect the story to interrupt them.

*Fi1m score 66, published 3 October 2026.*

## What the critics say

The reviews lean towards qualified enjoyment, with mixed responses outnumbering outright endorsements. Praise centres on Jenny Beavan’s inventive costumes and the performances of Emma Stone and Emma Thompson, particularly their confrontations. Even several sceptical critics find pleasure in the fashion and the leads’ rapport. Admirers see a lively, stylish crime romp, with Thompson’s Baroness drawing particular approval and Stone making the origin story more entertaining than expected.

The spread is wide, but the complaints recur: excessive length, convoluted plotting and an attempt to make Cruella sympathetic that risks draining her menace. Several otherwise enthusiastic reviews concede that the story carries on too long. The soundtrack and punk styling divide opinion rather than winning consistent praise. Variety welcomes the reinvention as creative and empowering; Vulture finds its politics shallow and its costumes insufficient to give the film substance. The central disagreement is how much the clothes and performances compensate for the writing.

## Straight answers

**Is Cruella worth watching?**

*Cruella* is worth watching for the interested, especially anyone drawn to fashion and professional spite; we score it 66 out of 100. Emma Stone and Emma Thompson make the rivalry funny, and the inventive clothes hold our attention, but the crowded origin story keeps interrupting their contest to explain away Cruella’s nastiness.

**How long is Cruella, and what is it rated?**

*Cruella* runs 2h 14m. It is a comedy and crime film.

**Where can I watch Cruella in Chile?**

*Cruella* is streaming on Disney+ in Chile. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Cruella, and is it suitable for children?**

*Cruella* has a UK 12A certificate, so we would not treat it as suitable for every child: under-12s need an accompanying adult at the cinema. The certificate alone does not establish how violent or frightening particular moments are, but it gives parents reason to consider a younger or sensitive child’s tolerance before choosing it.

**How does Cruella compare to The Devil Wears Prada?**

*Cruella* offers a more extravagant fashion feud than [*The Devil Wears Prada*](https://film.one/film/the-devil-wears-prada), which we recommend more readily for its tidier workplace comedy and quietly intimidating boss. Stone and Thompson make the competition entertaining, but their film gets bogged down in backstory; *Prada* is formulaic, though Meryl Streep and Emily Blunt give it ample reason to watch.

**Is Cruella based on a true story or a book?**

*Cruella* draws on a novel by Dodie Smith rather than a true story, using its central character for an origin story about ambition and fashion. No familiarity with the source is needed: our reservation is that the film spends too much time explaining Cruella’s behaviour when the performances already make her interesting.

**What should I watch after Cruella?**

After *Cruella*, try [*The Devil Wears Prada*](https://film.one/film/the-devil-wears-prada) (2006, Fi1m 70): Another fashion workplace where talent matters, but surviving the boss matters more. Then [*All About Eve*](https://film.one/film/all-about-eve) (1950, Fi1m 90): Ambition and wounded vanity, with dialogue sharp enough to justify the rivalry; and [*The Young Girls of Rochefort*](https://film.one/film/the-young-girls-of-rochefort) (1967, Fi1m 84): For the colour and costumes, with dancing instead of professional sabotage.

### Reviews we read (27)

- **Empire**, Ben Travis (85/100, inferred): Travis praises the film as a stylish, energetic crime-and-couture romp that makes Cruella’s wickedness entertaining. He especially singles out Emma Thompson’s commanding performance as the fearsome Baroness. [Read](https://www.empireonline.com/movies/reviews/cruella/)
- **The i Paper**, Francesca Steele (85/100, inferred): Steele finds the film an extremely zippy, fun dark comedy, though it runs too long and sags after its natural endpoint. She especially praises the fizzing dynamic between Emma Stone and Emma Thompson, alongside the costumes and soundtrack. [Read](https://inews.co.uk/culture/cruella-review-emma-stone-is-at-her-absolute-best-in-this-fantastically-fun-dark-comedy-1022922)
- **Variety**, Peter Debruge (Critics Pick): Debruge praises the film as an ingeniously creative, slyly empowering origin story that stands on its own. He particularly singles out its stylish reimagining and Emma Stone’s spirited performance. [Read](https://variety.com/2021/film/reviews/cruella-review-emma-stone-1234981828/)
- **Evening Standard**, Charlotte O'Sullivan (4/5): O’Sullivan finds Cruella a delicious, fabulous romp despite its convoluted and ridiculous plot. She particularly praises Jenny Beavan’s inventive costumes, which help tell the story and make its fashion world come alive. [Read](https://www.standard.co.uk/culture/film/cruella-film-review-fashion-origin-cruella-de-vil-101-dalmations-emma-stone-disney-b937204.html)
- **The Guardian**, Peter Bradshaw (4/5): Bradshaw finds the prequel riotously entertaining and full of old-fashioned fun. He praises the lavish recreation of 1970s London and the standout performances by Emma Stone and Emma Thompson. [Read](https://www.theguardian.com/film/2021/may/26/cruella-review-emma-stone-emma-thompson-disney-101-dalmatians)
- **Total Film**, Kate Stables (4/5): Stables finds the prequel a deliciously rowdy, stylish success, though overlong and overstuffed with twists. She especially praises Emma Thompson’s scene-stealing Baroness and the film’s spectacular costumes. [Read](https://www.gamesradar.com/cruella-review-disney-plus/)
- **IndieWire**, Kate Erbland (B-): Erbland finds the prequel spotty but entertaining, with its style helping make Cruella’s origin story work. She praises the costumes and Emma Stone’s performance, while faulting the film’s overstuffed, convoluted plot. [Read](https://www.indiewire.com/criticism/movies/cruella-review-prequel-1234639769/)
- **Screen Daily**, Tim Grierson (65/100, inferred): The review presents the film as a flashy prequel, but the accessible text does not reveal the critic’s overall verdict. The standfirst names Emma Stone and Emma Thompson, but the full review’s praise or complaints are behind a paywall. [Read](https://www.screendaily.com/reviews/cruella-review/5159821.article)
- **The Hollywood Reporter**, Lovia Gyarkye (65/100, inferred): Gyarkye finds the film gorgeous and often fun, though not sufficiently vicious and sometimes slow. She praises Jenny Beavan’s elaborate costumes, while faulting the script and its underuse of punk-era London. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/disneys-cruella-film-review-1234957412/)
- **The AV Club**, Katie Rife (C+): Rife finds Cruella visually indulgent and intermittently enjoyable, but overlong and messy in its storytelling. She singles out the elaborate costumes and sets for praise, while criticizing the film’s excessive length and unfocused plotting. [Read](https://www.avclub.com/cruella-is-stylish-and-chaotic-just-like-its-future-di-1846959646)
- **Little White Lies**, Hannah Strong (2/3/2): Strong finds the origin story overlong and largely uninspired, arguing that its tragic backstory drains Cruella of mystery. She singles out the film’s gowns as a pleasure, while criticizing its distracting soundtrack and try-hard writing. [Read](https://lwlies.com/reviews/cruella)
- **Time Out**, Phil de Semlyen (3/5): The review finds the film uneven, recommending its central clash while criticizing its ponderous origin story. It singles out Emma Stone and Emma Thompson’s baddie-off as the highlight. [Read](https://www.timeout.com/movies/cruella-2021)
- **Los Angeles Times**, Justin Chang (58/100, inferred): Chang finds the film enjoyable and dazzling on the surface, but ultimately confused and unsatisfying in its attempt to make Cruella sympathetic. He praises Emma Thompson’s deliciously imposing performance and the inventive costumes, while criticizing the script’s uncertain handling of Cruella’s villainy. [Read](https://www.latimes.com/entertainment-arts/movies/story/2021-05-26/cruella-review-disney-emma-stone-emma-thompson-101-dalmatians)
- **Radio Times**, Patrick Cremona (55/100, inferred): Cremona finds the film enjoyable but says its overlong runtime makes it drag. He praises its fun romp, while noting that it can become a slog. [Read](https://www.radiotimes.com/movies/cruella-review-disney-movie-fun-long-runtime/)
- **Slant Magazine**, Pat Brown (1.5/4): The review finds the film’s energetic surface unable to disguise its lifeless, factory-made feel. It notes that Emma Stone is fun to watch, but says her performance cannot restore the character’s lost menace. [Read](https://www.slantmagazine.com/film/cruella-review-emma-stone-disney/)
- **The New Yorker**, Anthony Lane (25/100, inferred): Lane finds “Cruella” overlong and more catty than canine, criticizing its stretched-out emotions and music-video-like passages. He praises the performances of Tipper Seifert-Cleveland and Bluebell, while arguing the film gives its talented adult actresses more dramatic space than they need. [Read](https://www.newyorker.com/magazine/2021/06/07/why-movies-love-kids-books)
- **Vulture**, Angelica Jade Bastién (10/100, inferred): The critic finds the film hollow, confused, and artistically facile. She singles out its shallow treatment of the madwoman archetype and girl-boss politics, while noting the costumes’ beauty feels inert. [Read](https://www.vulture.com/article/cruella-review.html)
- **Den of Geek**, Rosie Fletcher (4/5): Fletcher calls the film a joyful, vibrant romp and one of Disney’s strongest live-action remakes. She particularly praises Emma Stone’s magnetic performance and the film’s striking costumes. [Read](https://www.denofgeek.com/movies/cruella-review/)
- **NME** (75/100, inferred): The review finds the punk-inflected origin story more compelling than expected, despite some contrivances. It especially praises Emma Stone’s performance and the film’s cinematography and costume design. [Read](https://www.nme.com/reviews/film-reviews/cruella-review-disney-emma-stone-2948788)
- **The Wrap**, Alonso Duralde (70/100, inferred): The critic finds Cruella flashy fun despite its bloated runtime and softened take on the villain. They especially praise Emma Stone’s lively transformation between Estella and Cruella, and the film’s period fashion world. [Read](https://www.thewrap.com/cruella-film-review-emma-stone-emma-thompson/)
- **/Film**, Josh Spiegel (5 out of 10): Spiegel finds the film stylish and intermittently entertaining, but ultimately overlong and unable to escape its origin-story constraints. He particularly praises Jenny Beavan’s striking costume design, while criticizing the plodding pace. [Read](https://www.slashfilm.com/581313/cruella-review/)
- **Paste**, Jacob Oller (6.0/10): Oller finds the film stylish and intermittently enjoyable, but ultimately muddled and overlong. He praises Emma Stone and Emma Thompson’s performances and Jenny Beavan’s costumes, while faulting the canon-driven plot and corporate mall-punk aesthetic. [Read](https://www.pastemagazine.com/movies/disney/cruella-review)
- **Consequence**, Clint Worthington (55/100, inferred): Worthington finds the film entertaining and stylish, but says its formulaic story and excessive length make it fall flat. He especially praises the elaborate, punk-inspired costumes designed by Jenny Beavan. [Read](https://consequence.net/2021/05/cruella-review-disney-movie/)
- **Collider**, Matt Goldberg (C-): Goldberg finds the film overlong, bloated, and derivative, though occasionally fun. He praises the lively performances and especially Jenny Beavan’s costume design. [Read](https://collider.com/cruella-review-emma-stone/)
- **The Playlist**, Robert Daniels (C-): Daniels finds the origin story dull, overlong, and unclear about its purpose. He praises Emma Stone’s performance, her rapport with Emma Thompson, and the striking costumes, but says these strengths cannot overcome the convoluted plot. [Read](https://theplaylist.net/cruella-review-20210526/)
- **Digital Spy**, Gabriella Geisinger (35/100, inferred): The critic finds the film stylish but ultimately shallow, with its plot and pacing undermining the experience. The costumes and soundtrack stand out, especially when Emma Stone and Emma Thompson face off. [Read](https://www.digitalspy.com/movies/a36527515/cruella-review-disney-plus/)
- **The Ringer**, Kate Halliwell (35/100, inferred): Halliwell finds the film mediocre and ultimately tiresome despite its initial promise. She enjoys Cruella’s fashion-party montage, but criticizes the overlong story and its muddled attempt to redeem the villain. [Read](https://www.theringer.com/2021/05/31/movies/cruella-review-101-dalmatians-villain-questions)

## Details

- **Director:** Craig Gillespie
- **Director:** Craig Gillespie
- **Screenplay:** Tony McNamara, Dana Fox
- **Story:** Steve Zissis, Kelly Marcel, Aline Brosh McKenna
- **Novel:** Dodie Smith
- **Cinematography:** Nicolas Karakatsanis
- **Editor:** Tatiana S. Riegel
- **Music:** Nicholas Britell
- **Production design:** Fiona Crombie
- **Costume design:** Jenny Beavan, Samuel Coviello
- **Producer:** Kristin Burr, Andrew Gunn, Glenn Close
- **Cast:** Emma Stone as Estella / Cruella; Emma Thompson as The Baroness; Joel Fry as Jasper; Paul Walter Hauser as Horace; John McCrea as Artie; Emily Beecham as Catherine / Maid; Mark Strong as John the Valet; Kayvan Novak as Roger
- **Runtime:** 2h 14m
- **First release (the US):** 18 May 2021
- **Genres:** Comedy, Crime
- **Budget:** $200 million
- **Box office:** $234 million
- **Trailer:** https://www.youtube.com/watch?v=jpZrVxvG3mk

## Where to watch in Chile

- Disney+: streaming, uhd

*Checked 2026-10-03.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Devil Wears Prada* (2006), Fi1m 70: Another fashion workplace where talent matters, but surviving the boss matters more. — [Fi1m page](https://film.one/film/the-devil-wears-prada.md)
- *All About Eve* (1950), Fi1m 90: Ambition and wounded vanity, with dialogue sharp enough to justify the rivalry. — [Fi1m page](https://film.one/film/all-about-eve.md)
- *The Dressmaker* (2015): Clothes become weapons in a small town with plenty to answer for.
- *Kamikaze Girls* (2004): Elaborate clothes and unruly friendship, with more affection beneath the posing.
- *The Young Girls of Rochefort* (1967), Fi1m 84: For the colour and costumes, with dancing instead of professional sabotage. — [Fi1m page](https://film.one/film/the-young-girls-of-rochefort.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/cruella