Cinderella

Of course, there’s not much creative rationale at this point for another cinematic retelling of Cinderella, whose story is so well known among all ages that its title has become a staple in the pop-culture lexicon.

This handsomely mounted British version of the classic fairy tale from director Kenneth Branagh (Thor) is a visually ambitious if narratively straightforward adaptation that might appeal to young girls who can add another slender big-screen princess to their toy collection.

Taking place in an idyllic kingdom at unknown time and place, the story centers on the title character, known as Ella (Lily James), whose widowed father (Ben Chaplin) leaves her in the care of his new wife, Lady Tremaine (Cate Blanchett) before he dies during a business trip.

Lady Tremaine proceeds to turn Ella into a servant girl for her and her two adult daughters, forcing her to wear rags and scrub floors and live in the attic of their mansion. Except for a fleeting encounter with a handsome stranger in the woods, Ella’s future looks hopeless until the enchanting Prince (Richard Madden) issues an invitation to the entire kingdom to attend a ball at which he will choose his bride. Ella just needs to figure out how she will sneak out and get there.

None of that will come as a surprise to generations who have grown up on the sugary romanticism of the Cinderella tale. Branagh and screenwriter Chris Weitz (About a Boy) don’t attempt to bring any major twists or contemporary relevance to the material. An expanded prologue includes segments with a young Cinderella and her biological parents to minimal benefit, and there are the usual lessons about acceptance and kindness, and staying true to yourself, that hardly break the mold.

Indeed, the film’s best virtue is its technical polish, complete with colorful sets and extravagant costumes (especially during the lavish ball sequence), along with seamless special effects during the Fairy Godmother transformation scene. James (“Downton Abbey”) is appealing in the title role, and Blanchett steals most of her scenes as the iconic wicked stepmother.

Running contrary to its message, the film seems content to fit in rather than stand out from its numerous predecessors on stage and screen. That familiarity renders its wholesome approach somewhat tedious. Perhaps it’s missing a little “Bibbidi-Bobbidi-Boo.”

Rated PG, 105 minutes.