Directed by:
Tarsem SinghCinematography:
Brendan GalvinCast:
Lily Collins, Julia Roberts, Armie Hammer, Sean Bean, Nathan Lane, Mare Winningham, Michael Lerner, Robert Emms, Martin Klebba, Danny Woodburn, Jordan Prentice (more)VOD (5)
Plots(1)
An evil queen steals control of a kingdom and an exiled princess enlists the help of seven resourceful rebels to win back her birthright in a spirited adventure comedy filled with jealousy, romance and betrayal that will capture the imagination of audiences the world over. Visionary director Tarsem Singh (Immortals) rewrites fairy tale history as a wicked enchantress (Roberts) schemes and scrambles for control of a spirited orphan's (Collins) throne and the attention of a charming prince (Hammer). When Snow White's beauty wins the heart of the prince that she desperately pursues, the Queen banishes her to the forest, where a ravening man-eating beast hungrily awaits. Rescued by a band of diminutive highway robbers, Snow White grows into an indomitable young woman determined to take back her realm from the treacherous Queen. With the support of her subjects, she roars into action in an epic battle that blends spectacle, magic and contemporary humor in Singh's signature, jaw-dropping visual style. (official distributor synopsis)
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Reviews (7)
Snow White in its traditional form was already preserved by Disney before the war, so all other attempts to revive this classic are more or less ambitious superstructures. Since these things become a golden grail, Disney has never allowed for an official sequel and the competition always has to come up with something extra. Of such ideas we can recall the cute dwarfs, or the tale of horror, but Tarsem Singh's Mirror Mirror comes at the same time as Snow White and the Huntsman and the two films are forced to compete with each other. It's a bit of a shame, because the genre always ends up being somewhat different. This film is Julia Roberts acting solo in a new comedic position that doesn't pander and is something new. What happens outside of the scenes with her is a departure, but it's not bad either. This film is all about interesting special effects, lavish costumes, an unusual concept of the prince and dialogue that no one would expect in a fairy tale. I'll ignore the final dance number because it's so inorganic (similar to Slumdog Millionaire).
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A particularly strange slant on the story of Snow White, but, believe it or not, I liked it. There’s no reason to look for any complicated plot or dramatic acting performances in a kids’ movie. It was an entertaining feet-up movie and I really enjoyed myself watching. And that crazy ending really got me.
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There have been many classic renditions of the immortal story of "the most beautiful of all" and this adaptation basically took only the characters (albeit with different names) and the plot from the book. Otherwise, this film has its own original atmosphere, which I had mixed feelings about. Several elements were noteworthy, such as the gorgeous costumes and lavish sets, but the actors left a pretty mediocre impression on me; of course the best were Julia Roberts and Nathan Lane. "Puppy Love" or "regular beauty care" were probably the funniest scenes. In short, another of the many American films that stands out in the end for its visuals and immediate mediocrity.
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Tarsem Singh is a misunderstood and underappreciated individual. Whatever could be said about his previous films is entirely true here as well. Singh once again captivates with visuals and bizarre ideas that are not to most people's taste, but I appreciate him all the more. This was a very playful and enjoyable film. That it sometimes descended into infantile humour? So what. And the Bollywood wink at the end made me very happy. PS: Phil Collins can be proud of his daughter.
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It looked so interesting at the beginning that I naively thought that this time I would see Snow White's story told from the perspective of the Queen, whom Julia Roberts played perfectly, and I would have no problem keeping my fingers crossed for her. Sadly, I was wrong. There was no "we'll fool you with the trailer" subterfuge, the Queen got less and less space as time went on and infantile jokes, utterly insufferable dwarves and other unnecessary weirdness came to the fore. By the end of it all, I was so incredulously dumbfounded that I liked the video clip finale. I give two stars for them, for Julia Roberts and for Menken's music, but no more. What the film does to the character of the Queen, by the way, is perfectly captured by the scene where Julia Roberts gets her face painted with bird... er... droppings. Then it only gets worse.
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