I had high hopes for “Cruella.”

The previews looked great: lots of flash, lots of style, fast-paced.

The live-action movie, “Cruella,” is based on Disney’s classic animation feature film, “One Hundred and One Dalmatians” (1961), and live-action films, “101 Dalmatians” (1996) and “102 Dalmatians” (2000).

”Cruella” stars two of my and many favorite movie Emmas: Emma Stone in the title role of Estella, aka Cruella, an aspiring fashion designer, and Emma Thompson as Baroness von Hellman, a couturier.

I love movies about fashion. Director Robert Alman’s “Prêt-à-Porter” (1994), for which I interviewed (and sat next to at the reporters’ table in New York City) movie icon Lauren Bacall (as Slim Chrysler. Now that’s a character’s name. Oh and by the way, Bacall still had that je ne sais quoi.), was a hoot-and-half for me, although it was roundly ridiculed.

Perhaps taking a page from “The Devil Wears Prada” (2006), starring Anne Hathaway as assistant to fashion magazine editor Meryl Streep; “Phantom Thread” (2017), an under-appreciated gem by director Paul Thomas Anderson starring Daniel Day-Lewis as a dyspeptic fashion designer in what is believed to be his final movie role, and the fashion runway spoof, “Zoolander” (2001), starring the irrepressible Ben Stiller and Owen Wilson, the film-makers of “Cruella” built the origin story around a haute couture design house, run with dictatorial disdain by Baroness von Hellman (Emma Thompson).

“Cruella” takes place in London during the 1970s. Estella Miller (Emma Stone) wants to be a fashion designer. She ends up becoming Cruella de Vil.

There’s a passel of prologue in “Cruella” (it feels like an appendage, tacked on and almost a separate film) with voice-over narration by Enma Stone, which sets the unfortunate tone for the entire movie, which makes the rank amateur faux pas in film-making: that of showing or telling about the action, events and emotions, rather than allowing the actors to speak the words and act the scenes. “Cruella’ should be subtitled, “As Told To.” With actors the caliber of Emma Stone and Emma Thompson in “Cruella,” it’s downright cruel.

Emma Stone (Oscar recipient, leading actress, “La La Land,” 2016; Oscar nominee, supporting actress, “The Favourite,” 2018, and “Birdman Or The Unexpected Virtue Of Ignorance,” 2014) is a brave actress. She gamely tackles the role. She’s great fun. Her fans won’t be disappointed.

Emma Thompson (Oscar recipient, leading actress, “Howards End,” 1992; Oscar nominee, leading actress, “Sense And Sensibility,” 1995, and “The Remains Of The Day,” 1993, and Oscar nominee, supporting actress, “In The Name Of The Father,” 1993) gets to chew up the scenery in “Cruella.” She’s grand in the role. Her fans won’t be disappointed, either.

The supporting performances are similarly ham and cheesey, including that of a duo and a subplot right out of Charles Dickens’ novel, “Oliver Twist” (1938), that of The Artful Dodger times two in Cruella’s cohorts, Jasper Badun (Joel Fry, “Yesterday,” 2019) and Horace Badun (Paul Walter Hauser, “Richard Jewell,” 2019).

Noteworthy are Catherine (Emily Beecham), as Estella’s mother; Anita (Kirby Howell-Baptiste), Estella’s childhood friend; Artie (John McCrea), a flamboyant boutique owner, and John (Mark Strong), the Baroness’s major domo.

As to who is to blame for my disappointment with “Cruella,” round up the usual suspects: the screenwriters, and to a lesser extent, the director, who lets the movie veer as out of control as Cruella’s careening limousine.

“Cruella” is confusing, lacking in substance, and it’s long. Apparently, screenwriters were brought in to patch up the works. Instead, they botched up the works.

The “Cruella” screenplay is by Dana Fox (“Isn’t It Romantic,” 2019; “How To Be Single,” 2016; “Couples Retreat,” 2009; “What Happens In Vegas,” 2008; “The Wedding Date,” 2005) and Tony McNamara (Oscar nominee, original screenplay, “The Favourite,” 2018), based on a story by Aline Brosh McKenna (“Annie,” 2014; “We Bought A Zoo,” 2011; “Morning Glory,” 2010; “27 Dresses,” 2008; “The Devil Wears Prada,” 2006; “Laws Of Attraction,” 2004; TV’s “Crazy Ex-Girlfriend,” 2015-2019), Kelly Marcel (“Venom: Let There Be Carnage,” 2021; “Venom,” 2018; “Fifty Shades Of Grey,” 2015; “Saving Mr. Banks,” 2013) and Steve Zissis (TV’s “Togetherness,” 2015-2016). The screenplay and story are based on the Dodie Smith novel, “One Hundred and One Dalmatians” (1956).

“Cruella” director Craig Gillespie (“I, Tonya,” 2017; “The Finest Hours,” 2016; “Million Dollar Arm,” 2014;”Fright Night,” 2011; “Lars And The Real Girl,” 2007) seems to be out of his element from his otherwise absorbing feature film directed dramas. Gillespie tries, but he tries too hard. There are few scenes of genuine interaction between the main characters.

Add to the movie’s systemic problem caused by screenplay by committee is the questionable decision to blast the soundtrack with a truly bizarre amalgam (think “Moulin Rouge,” 2001) of nearly back-to-back “needle-drop” snippets of some 35 pop, rock, hip-hop and other hit songs, creating a jukebox movie musical where there was none (Nina Simone, “Feeling Good”; Supertramp, “Bloody Well Right”; Blondie, “One Way or Another”; Electric Light Orchestra, “Livin’ Thing”; the Clash, “Should I Stay or Should I Go”), that have little to do with the action on screen, except that it’s semi-effective in distracting the movie-goer from what is happening on the screen, which isn’t much, and adding energy to otherwise lackluster scenes. Maybe the film-makers thought they were making a “Guardians of the Galaxy” mix-tape sequel.

Yes, I loved the outrageous getups that Emma Stone and Emma Thompson get to sashay in, courtesy of Costume Designer Jenny Beavan (Oscar recipient, costume design, “Mad Max: Fury Road,” 2015; “A Room With A View,” 1985).

And the over-the-top visuals by Art Director Martin Foley and Production Designer Fiona Crombie (Oscar nominee, production design, “The Favourite,” 2018) are eye candy for the cinema connoisseur, especially on the big screen.

But when all is said and done, all I can say is “Goodbye, ‘Cruella’ world.”

Let’s hope the “Cruella” sequel, already in pre-production, is a stitch in time.

“Cruella,”

MPAA Rated PG-13 (Parents Strongly Cautioned Some material may be inappropriate for children under 13. Parents are urged to be cautious. Some material may be inappropriate for pre-teenagers.) for some violence and thematic elements; Genre: Comedy, Crime; Run Time: 2 hr., 14 min. Distributed by Walt Disney Studios Motion Pictures.

Credit Readers Anonymous:

Stay for an end credits “Cruella” scene that foreshadows a sequel. Roger (Kayvan Novak), the Baroness’s lawyer turned songwriter, belts out the song, “Cruella de Vil,” from Disney’s 1961 animated feature film.

At The Movies:

“Cruella” was seen in the Dolby Theatre at AMC at AMC Center Valley 16, Promenade Shops at Saucon Valley, Upper Saucon Township. COVID-19 protocol has been eased. Social distancing in seating seemed to be in effect. I wore a face mask even though I have received the two Moderna vaccine shots.

Movie Box Office,

June 4 - 6: “The Conjuring: The Devil Made Me Do It” opened at No. 1 with $24 million on 3,102 screens, one week, making “A Quiet Place Part II” drop to No. 2, with $19.5 million, on 3,744 screens, $88.6 million, two weeks, as “Cruella” dropped one place to No. 3 with $11.2 million, on 3,922 screens, $43.6 million, two weeks.

4. “Spirit Untamed,” $6.2 million, on 3,211 screens, opening. 5. “Raya and the Last Dragon” dropped two places, $1.3 million, on 1,504 screens, $53.5 million, 14 weeks. 6. “Wrath of Man” dropped one place, $1.2 million, on 2,607 screens; $24.6 million, five weeks. 7. “Spiral” dropped three places, $890,000, on 1,983 screens, $21.7 million, four weeks. 8. “Godzilla vs. Kong” dropped two places, $463,000, on 1,390 screens; $99.1 million, 10 weeks. 9. “Demon Slayer the Movie: Mugen Train” dropped two places, $457,500, on 1,145 screens; $47.1 million, seven weeks. 10. “Dream Horse” dropped two places, $230,050, on 648 screens, $2.3 million, three weeks.

Box office figures from Box Office Mojo as of June 6 are subject to change.

Movie Box Office:

May 28-30: “A Quiet Place Part II,” with its release postponed several times from its scheduled March 20, 2020, opening because of the coronavirus (COVID-19) pandemic shutdown, opened at No. 1 with pre-pandemic numbers, $47.5 million on 3,726 screens, besting “Cruella,” which opened at No. 2 with $21.4 million on 3,892 screens for the Memorial Day weekend, the traditional start of the summer movie season.

“A Quiet Place Part II” took in $58.5 million for the four-day Memorial Day holiday weekend. It’s the biggest opening during the pandemic, surpassing “Godzilla vs. Kong,” which opened with $32 million in March. It was the first weekend in more than a year when the United States box-office total passed $100 million.

3. “Raya and the Last Dragon” rose one place, $2.3 million, on 2,015 screens, $51.2 million, 13 weeks. 4. “Spiral” dropped three places from its two weeks at No. 1, with $2.2 million, on 2,641 screens, $19.7 million, three weeks. 5. “Wrath of Man” dropped three places, $2.1 million, on 2,607 screens; $22.1 million, four weeks. 6. “Godzilla vs. Kong” stayed in place, $885,000, on 1,815 screens; $97.7 million, nine weeks. 7. “Demon Slayer the Movie: Mugen Train” dropped two places, $837,000 on 1,145 screens; $45.9 million, six weeks. 8. “Dream Horse” moved up one place, $639,636, on 1,254 screens, $1.7 million, two weeks. 9. “Those Who Wish Me Dead” dropped six places, $590,000, on 1,805 screens, $6.2 million, three weeks. 10. “Bo Gia,” $350,00, opening on 20 screens, one week

36. “The War with Grandpa,” co-starring Allentown’s Oakes Fegley, dropped six places, $2,108, on 35 screens, $21.2 million, 34 weeks, the longest-running movie in the Top 40. “The Croods: A New Age” is the next longest-running, at 27 weeks.

Box office figures from Box Office Mojo as of May 30 are subject to change.

Unreel,

June 11:

“In the Heights,”

PG-13: Jon M. Chu directs the musical based on the stage musical by Lin-Manuel Miranda and Quiara Alegria Hudes. The movie stars Stephanie Beatriz, Anthony Ramos, Melissa Barrera, Lin-Manuel Miranda, Jimmy Smits, Leslie Grace, Dascha Polanco and Marc Anthony. A bodega owner in Washington Heights, New York City, dreams of a better life.

“Peter Rabbit 2: The Runaway,”

PG: Will Gluck directs the voice talents of James Corden (Peter Rabbit), Elizabeth Debicki, Margot Robbie, Aimee Horne and Sia and the actors Domhnail Gleeson and Rose Byrne in the CGI animated Adventure Comedy based on the Beatrix Potter characters.

“Queen Bees,”

PG-13: Michael Lembeck directs Ellen Burstyn, James Caan, Ann-Margret, Jane Curtain and Christopher Lloyd in the Comedy, Drama, Romance. A woman in a home for senior citizens encounters mean women and an amorous widower.

“The Misfits,”

R: Renny Harlin directs Pierce Brosnan, Jamie Chung, Tim Roth and Nick Cannon in the Action, Adventure, Thriller. A criminal is recruited for a gold heist.

“The House Next Door: Meet the Blacks 2,”

R: Deon Taylor directs Mike Epps, Bresha Webb, Danny Trejo, Rick Ross and Snoop Dogg in the Action, Comedy, Horror film. After he moves his family back to his childhood home, a man must battle a pimp, who may be a vampire.

“The Unhealer,”

No MPAA rating: Martin Guigui directs Natasha Henstridge, Lance Henriksen, Elijah Nelson, Chris Browning, Gavin Casalegno and Kayla Carlson in the Science-Fiction Thriller. A faith healing bestows supernatural powers on a bullied teenager.

“Sublet,”

No MPAA rating: Eylan Fox directs John Benjamin Hickey, Niv Nissim and Lihi Kornowski in the Comedy, Drama, Romance. A newspaper travel writer is rejuvenated in Tel Aviv.

“Censor,”

No MPAA rating: Prano Bailey-Bond directs Niamh Algar, Michael Smiley and Sophia La Porta in the Horror film. A film censor tries to solve the mystery of her sister’s disappearance.

Movie opening dates from Internet Movie Database and are subject to change.

Two Popcorn Boxes out of Five Popcorn Boxes