「ピッチ･パーフェクト」の脚本家ケイ･キャノンが、有名なおとぎ話を大胆に作り変えた現代風ミュージカル映画「シンデレラ」。大きな夢を抱く野心家のヒロイン（カミラ･カベロ）が、ファビュラス･ゴッドマザーの魔法の力を借りて、夢を実現させようと奮闘する姿を描く。イディナ･メンゼル、ミニー･ドライヴァー、ジェームズ･コーデン、ニコラス･ガリツィン、ビリー･ポーター、ピアース･ブロスナンと、共演者の顔ぶれも非常に豪華だ。
興行収入: $42,494 (0億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Kay Cannon
脚本: Kay Cannon / Charles Perrault / ジェームズ・コーデン
音楽: Mychael Danna / Jessica Rose Weiss
制作: ジェームズ・コーデン / Leo Pearlman / Jonathan Kadin
撮影監督: ヘンリー・ブラハム
I tried, I really did! I hoped that the fairly decent, experienced, ensemble cast coupled with state of the art visual effects and a collection of modern-day pop lyrics would breathe new life into this timeless story. Well, sadly, that was all just a triumph for optimism over, well, just about anything... It's terrible. Good looking, well produced, but terrible. Am I the only person left alive who is fed up being shouted at by Edina Menzel? Pierce Brosnan demonstrated in "Mamma Mia" (2008) that he is happy to play parts with his tongue in his cheek, but here I fear he must have cringed when he saw; likewise Minnie Driver and a whole host of British comedians led by the ubiquitously un-talented James Corden. Billy Porter tries a different take on the fairy godmother character but features all to sparingly to make much impact on an otherwise extremely pedestrian interpretation that reached it's nadir with the cute but totally wooden pairing of Nicholas Galitzine (Freddie Mercury would spin in his grave) and Camila Cabello. Sorry, maybe if I were 6 years old and had nothing to compare this with, I'd not be so harsh - but I'm not and this is poor, really poor...
Cinderella is a jukebox musical, based on a classic fairy tale, with CGI animals, and the now obligatory ethnically diverse cast (though oddly relegated to the extras; all of the main characters, with one exception that we'll get to later — and that's certainly not Camila Cabello —, are of the Caucasian persuasion. It's like, how much more lazy could this writing be? And the answer is none. None more lazy. To put it in perspective, Lin-Manuel Miranda's so-called songs from Hamilton or In the Heights are all over the place, but at least he sat down and committed them to paper himself (and you can tell from the result that he did without any help at all). Conversely, what we have here is the worst of two worlds: on the one hand, covers so watered down they constitute sonic homeopathy, and on the other, original songs so bland that they make the covers sound good in comparison. As bad as, say, Rocketman is, at least it's a jukebox musical that makes sense; after all, one expects to hear Elton John songs in an Elton John biopic. This of course doesn't change the fact that, should I want to listen to John's version of “Pinball Wizard”, I'm going to watch Tommy, not Rocketman. By the same token, if I want to see a Cinderella musical, the gold standard is still the 1950 Disney version, which contains original, plot-relevant songs that they were written expressly for the film — as opposed to a glorified playlist that fails miserably at the two most important functions a song has in a musical: moving the story forward and developing the characters (how exactly a medley of “Whatta Man” and “Seven Nation Army” is going to accomplish either of those things, I haven’t the foggiest) — especially considering that YouTube, iTunes, Spotify, etc. allow me to easily enjoy the superior, genuine article performed by the artists who wrote and/or recorded it in the first place. As for the exception to the 'inclusive' cast that I mentioned above, it's the Fabulous Godmother; played with overflowing exuberance by Billy Porter; this is the only character endowed with a life of its own, something for which the actor, and not the script or the director, deserves exclusive credit. The rest — even (sigh) Pierce Brosnan and Minnie Driver — are so opaque and forgettable that they might as well have been as computer generated as the animals
Inspired by the Cinderella tale, this film offers a modern twist focused on gender equality, portraying Ella as a strong, independent woman rather than a helpless victim. It redefines traditional roles—like a caring stepmother, flawed prince, and even a male fairy godparent—to support its empowering message. While the film's bold differences disappointed some viewers, it remains a thought-provoking and watchable reimagining, best appreciated when seen as Ella’s story, not a retelling of the classic fairytale. Read the full review here: (Indonesian version : alunauwie.com)
