Cruella (2021)

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Goldberg finds the film overlong, bloated, and derivative, though occasionally fun. He praises the lively performances and especially Jenny Beavan’s costume design.

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.

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.

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.