Snow White: Mark Kermode’s fantasy movie review (video).
Our man of many movies, Mark Kermode, drops by to review the recent live action remake of the Snow White animated classic. Watch his review, above. And us? What did we think at SFcrowsnest? How about, Mirror, Mirror, on the Wall, Who Asked For This Remake After All?
Just when you thought Disney couldn’t dig any deeper into its bottomless wishing well of remakes, along comes ‘Snow White’ (2025), a live-action extravaganza directed by Marc Webb and starring Rachel Zegler, Gal Gadot, and Andrew Burnap. Now, don’t misunderstand; here at SFcrowsnest magazine, we’re as partial to a nostalgic romp as the next mildly cynical film critic, but there comes a point when you have to wonder if the House of Mouse has run out of original cheese to nibble on.
This version of Snow White is touted as a ‘reimagining’, which, in Hollywood speak, usually translates to: ‘We’ve updated it, modernised it, and chucked in a controversy or two for good measure.’ Rachel Zegler, stepping into the dainty slippers of Disney’s first princess, delivers an earnest performance as a feisty, spirited heroine determined to overthrow her evil stepmother’s cruel regime. Zegler manages to make her character engaging despite a script that feels more stitched together than Frankenstein’s monster on laundry day.
Gal Gadot, meanwhile, chews the scenery as the Evil Queen with such gusto that you half expect her to spit out splinters mid-monologue. Her portrayal is hammy enough to put the entire pork industry out of business, though disappointingly lacks the menace and genuine malevolence required. Evil, perhaps—but frightening? Only if you have a mortal fear of glittery gowns and dramatically arched eyebrows.
The film does take some questionable detours from the original Grimm fairytale and Disney’s animated classic, notably introducing Jonathan (Andrew Burnap), a roguish bandit who replaces the original Prince Charming. He’s essentially Robin Hood-lite with a dash of rebellion, serving as Snow White’s love interest because apparently, princes are passé and rebels are the new royal accessory.
Then, of course, there’s the controversy around the Seven Dwarfs—or more accurately, the seven politically sensitive, CGI-enhanced characters who seem unsure whether they’re mining for diamonds or public approval. Disney’s attempt at inclusivity has certainly raised a few eyebrows, with some critics claiming that it detracts from the traditional charm. Honestly, you haven’t seen real controversy until you’ve heard Doc lecture about workers’ rights.
Despite some genuinely impressive visuals—Pinewood Studios and London’s forests doing their best to disguise the cracks—the screenplay feels flatter than a poisoned apple pancake. The magical mirror gets a voice upgrade courtesy of Patrick Page, but even his velvet tones can’t smooth over some clunky dialogue.
Still, ‘Snow White’ isn’t without its charms; the musical numbers are suitably dazzling (thank goodness for Mandy Moore’s choreography), and there’s enough sparkle here to distract the younger viewers while their parents count down the minutes. But ultimately, the film feels less like a fresh reimagining and more like reheating last night’s takeaway—it’s familiar and vaguely comforting, but not nearly as satisfying as something made fresh.
So, is it the fairest film of all? Not quite. It’s more like the fairest at this exact cinema at 3 pm on a rainy Tuesday. But in a world of increasingly unnecessary remakes, that might just be enough.
