From the lush fantasy landscape to the quaint village to the chilly forest, this is an entirely set-bound, artificial environment lacking in magic, a shortfall that saturation use of Alan Menken’s score tries to cover. That fantastical creature is right in Singh’s wheelhouse, but the uneven CGI elements are so overwhelming that the characters are all but suffocated. But she’s also a little bland, playing the role as a modern girl who never really seems too threatened, even when facing down the dreaded Beast, a forest-dwelling terror with the head of a wolf crowned by antlers, the tail of a giant reptile and the claws of a vulture. Part Jennifer Connelly and part Audrey Hepburn, Collins (daughter of musician Phil Collins) is quite a beauty. That prompts the Queen to dip into her dwindling reserves of magic – which she accesses by stepping through her mirror portal to what look mystifyingly like Tahitian thatched huts built on water – to enslave the Prince and eliminate Snow White. Unbeknownst to the Queen, Snow White is spared and taken in by seven bandit dwarfs, who teach her fighting skills. She sees a solution to her financial woes when wealthy Prince Alcott (a game and occasionally shirtless Armie Hammer) stumbles into her kingdom.Īt first the Queen is merely irked by her stepdaughter, but when Snow White catches the Prince’s eye, irritation turns to rage, and she orders her to be removed to the forest and executed. Living large in her grand castle on a rocky promontory while the commoners starve to pay her taxes, the Queen is a gold-digger looking to replenish the royal fortune. There’s also the usual serving of anachronistic dialogue and references, such as that well-worn nod to focus groups. Among the key twists is the now-standard feminist switch that instead of riding along near the end to save Snow White, the Prince himself gets saved by a kiss from the heroine, who is far from defenseless. Marc Klein and Jason Keller’s wit-deprived screenplay, from a story by Melisa Wallack, aspires to the same school of fairy-tale irreverence as The Princess Bride, Shrek and Enchanted.
#MIRROR MIRROR MOVIE#
This is a movie drowning in flamboyant design elements and in need of a stiff shot of enchantment. Some of the under-12 audience might get with that program, but it’s an effort.
Mirror Mirror requires us to hiss at a villainess, root for a heroine, chuckle with her rowdy band of dwarfs and swoon for her handsome prince. PHOTOS: First Look at Relativity’s Snow White Project, ‘Mirror Mirror’ But old-fashioned storytelling skills are paramount in any fairy tale. In The Cell and Immortals, character and plotting come a distant second to the director’s elaborate visual aesthetic. Narrative storytelling is not Singh’s strength.
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