Mirror Mirror (2012)
Critic Consensus: 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.
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as The Evil Queen
as Snow White
as Prince Alcott
as The King
as Charles Renbock
as Baker Margaret
as Half Pint
as Caroline (Poor Woman...
as Noble #1
as Noble #2
as Noble #3
as Noble #4
as Servant #2
as Town Magistrate
as Lord Waverly
as Magical Cottage Quee...
as Door Guard #2
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Critic Reviews for Mirror Mirror
Credit director Tarsem Singh with the flickers of originality you'll find.
You can only disappoint your fans so often before they turn and run in droves. Just ask Roberts' close friend, Mel Gibson.
Mirror Mirror features over-indulgent story moments and, at times, hammy performances but still delivers a mostly fun riff on the Snow White story.
While it may not be as memorable as his other good projects, Singh has delivered a film that should delight audiences of all ages because of the timelessness of the story and the spin the writers have put on it.
Mirror Mirror is an aesthetically fantastical yet ultimately tedious film that may occasionally please the tots in the audience. However, it will leave adults far less enchanted.
Audience Reviews for Mirror Mirror
Julia Roberts seems to be having a lot of fun in this amusing satire that plays with fairy tale clichés as a feminist take on the classic story full of witty dialogue and with a solid script that is much more inspired than Snow White and the Huntsman, even if not remarkable.
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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