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Like most of Tarsem Singh's films, Mirror Mirror is undeniably beautiful -- but its treatment of the age-old Snow White fable lacks enough depth or originality to set it apart from the countless other adaptations of the tale.
All Critics (187)
| Top Critics (38)
| Fresh (94)
| Rotten (93)
| DVD (2)
'Mirror Mirror' is as gaudily spectacular as you expect if you've seen director Tarsem Singh's films, 'The Fall' and 'Immortals'.
The film sleepwalks along confidently enough in its numb, semi-unfunny, semi-unserious way. But the tale's passion and subversion have been removed.
'Mirror, Mirror' is a trippy version of the Snow White story.
Mirror Mirror is a film that's all picture and no propulsion, each scene static in a basic set-decoration color scheme of teabag and banana.
The actors are all at sea, especially the miscast Roberts, whose arch manner never suggests even a pantomime version of evil. Conversely, Lily Collins makes an overly knowing Snow White, smirking demurely as if she'd just stepped off the Gossip Girl set.
Here, the familiar tale is retold with concessions to feminist self-determination and camp humor, bending the Grimm Brothers' tale without infringing on its basic beauty.
Does it fail? Yes. But what's impressive is how spectacularly it manages to do so... and how badly you might find yourself wanting to enjoy it in spite of all that.
A gloriously well made family friendly adventure with an abundance of charm.
And so Mirror Mirror tells a slightly didactic narrative about a strong and capable young woman -- who still cooks and cleans for dwarves, though, in between learning the art of war from them.
Armie Hammer (The Social Network, J. Edgar) is proving to be quite the leading man, and Julia Roberts seems to really enjoy being the bad guy for once. All in all, the film is a visually beautiful, if superficial, story.
Sometimes, all you need is something light and airy to really hit your sweet spot, and this film delivers that in a bright red brocaded ball gown.
An intermittently enjoyable trifle that could have been something more if it had resisted the self-conscious urge to look at its own reflection.
Julia Roberts seems to be having a lot of fun in this amusing satire that plays with fairy tale clichés - a feminist take on the classic story full of witty dialogue and with a solid script much more inspired than Snow White and the Huntsman, even if not remarkable either.
The best version of this familiar tale floating around in cinematic circles, helmed by Julia Roberts with a light touch and ably seconded by Nathan Lane's best performance ever. All the familiar ingredients are presented in a fresh way and generally speaking it's a fun time at the fairy castle of ye olden days.
A charming, creative (and uneven) re-imagining of the Snow White tale. Entertaining performances by Armie Hammer and Nathan Lane. Julia Roberts was a disappointment, seeming to have dialed it in with the passion and skill of a high school drama teacher.
Snow White's story gets a pseudo-feminist re-boot, but much of the story remains intact.
I was ready to give this film three stars, a stretch for me because films like this are not my cup of tea, but the closing credits were scored by an auto-tuned, dance-club number that is, in the words of Super Reviewer Alice Shen, "half-Bollywood." I didn't even watch the full number. It was revolting.
I watched the film for its costume design, the category for which it's nominated, and the costumes and production design are indeed nomination-worthy. Lush, colorful schemes abound, and the film is a visual delight.
We all know the story. I have always contended that Snow White is coded racism and sexism; after all, the "fairest of the land" can be a synonym for "whitest," and Snow White is confined to domestic duties when she joins the dwarves. But when Snow eschews the Prince's help, she essentially deploys a feminist message, saying that she doesn't need a man to rescue her. I wish they had stuck with this, but the plot eventually proves that she does need rescuing. The film was so close to something unique.
All the performances are fine. Nathan Lane is Nathan Lane, and Julia Roberts is charmingly caddy. Lily Collins was there too.
Overall, this film had promise once upon a time.
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