, tries to have it both ways, pairing contemporary post-feminist tenets and anachronistic slang and pop songs with the ballgowns and social norms of Renaissance-era Europe.
It’s a cute idea that’s been pulled off before, notably in the 2001 film “A Knight’s Tale,” starring Heath Ledger. But here, it’s a bit awkward and forced. Cabello’s Cinderella is a big dreamer with entrepreneurial ambitions. Confined to the basement with her talking mice, she sketches fashion designs and sews ballgowns with the hopes of one day selling her dresses and becoming a businesswoman .
That’s a choice that may have landed with a bit more aplomb a few years ago, but in 2021, it’s a tired trope. In fact, tropes and archetypes are the engines of this film, thinly sketched characters whose development seems to have been jettisoned for endless belting.
This is Cabello’s first film, and while she’s a skilled singer and performer, her acting is overly cutesy, a bit grating and flip, and that doesn’t allow her character to achieve any depth. All of the main characters, including Nicholas Galitzine as Prince Robert, subscribe to this sort of Disney Channel acting style, which is sarcastic and glib and inherently insincere.
this is terrible news
Train wreck.
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