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"Mirror Mirror", Special View

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Mirror Mirror could be the most up-to-date attempt to rework the Grimm Brothers' fairy tale, "Snow White plus the Seven Dwarves," into something new, adventurous, and attractive to 2012 movie-goers. The result is mixed: the affable, family-friendly motion image is lively sufficient to engage young viewers but will prove some thing of a challenge for any individual who has gone by means of puberty. The adjustments towards the source material are many but most contribute little that's optimistic to a story that seems to be on auto-pilot. Tarsem Singh (right here operating below the third iteration of his name, Tarsem Singh Dhandwar) brings his usual visual flair to the proceedings, but that is not adequate.

Mirror Mirror is essentially a live-action Snow White along with the Seven Dwarves crossed with Time Bandits. The end outcome could have benefitted considerably from far more of the latter and significantly less of the former. The seven dwarves - Napoleon (Jordan Prentice), Half Pint (Mark Povinelli), Grum (Joe Gnoffo), Grimm (Danny Woodburn), Wolf (Sebastian Saraceno), Butcher (Martin Klebba), and Chuckles (Ronald Lee Clark) - are played by little individuals and represent by far the most fascinating characters inside the story. Rather than becoming miners (no "Hi Ho, It's off to Work We Go," although I suppose Disney owns the copyright for the song, anyway), they're bandits. Snow White (Lily Collins), an exiled princess, becomes their leader immediately after she's provided their hospitality (which include it is actually) when searching for shelter within the dark forest. Meanwhile, the Wicked Queen (Julia Roberts) who sent Snow into exile (as a result of the "who's the fairest of them all" nonsense) is plotting to marry Snow's 1 Accurate Like, Prince Alcott (Armie Hammer). She wants his money and, to win his hand, she tells him Snow is dead and gives him a really like potion.

In a sense, Mirror Mirror suffers from becoming a jack of all trades, master of none. Its fantasy/adventure sequences, which function sword fights and a dragon-like monster, are pedestrian and not the least bit engaging. Its romantic components are stilted and unconvincing. Any drama is d.o.a. Plus the comedy is sporadic and frequently juvenile. Other than Singh's visual showiness, there is not a great deal here to captivate teenagers or adults. The film works greatest with viewers among the ages of 8 and 11, largely girls.

The acting is sufficient for the material. Lily (daughter of Phil) Collins, producing her very first starring turn in a feature film, is lithe and eye-catching, but she doesn't leave a great deal of an impression because the warrior/robber leader princess. Blame it around the sumptuous wardrobe, which overshadows her. I suspect she may well be like Ann Hathaway, who blossomed as quickly as she was allowed to move beyond the juvenilia that trapped her in her early profession. Julia Roberts understands the tone - she's arch sufficient to become amusing but there is adequate menace in her efficiency that it doesn't encounter as excessively campy. Her asides throughout the otherwise boilerplate introductory narration, which are delivered using the excellent tongue-in-cheek inflection, represent a number of Mirror Mirror's ideal writing. Armie Hammer gamely plays the "damsel in distress" function in reverse - he becomes ensorcelled, requires rescuing, and spends substantial chunks in the film half-naked. The actors playing the dwarves are all fine and do an excellent job with occasional 3 Stooges mimicry, but you'll find some differentiation concerns - anything that was never an issue with Snow White's animated companions.

Possibly the overriding dilemma with Mirror Mirror is that it mines territory so overworked that there's practically nothing new or worthwhile to be discovered. Regardless of sometimes witty lines and eye-catching visual quirks (delivered in delightful 2-D), Mirror Mirror seems like the tired and recycled material it essentially is. The animated version is universally regarded as a treasure in addition to a classic, and it can be still common among children now. There's no legitimate cause for a re-invention unless it's to complete a thing radical. But "radical" seems far from the minds of Singh and his screenwriters. If their intention was to provide a version of Snow White that should hold the consideration of young school-age girls, they've succeeded. If they had been hoping for a thing extra ambitious, it did not make the transition from concept to actuality. Mirror Mirror is not terrible cinema, but it really is only worth the value of admission as a way to distract a youngster - and you will discover much better alternatives for that.

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