As a live-action adaptation of the animated feature film that started it all for Walt Disney Studios, 2025’s Snow White fights for relevancy in an otherwise stagnant society. Marc Webb serves as the film’s director. Best known for (500) Days of Summer (2009) and both Amazing Spider-Man movies starring Andrew Garfield, Webb’s latest feels like a far cry from home in terms of tone and style. However, Webb nails the cinematic magic of the filmic event. The same can be said of the film’s screenwriter, Erin Cressida Wilson, whose most recognized work of recent years includes Men, Women & Children (2014) and The Girl on the Train (2016). Thanks to their proven insightful and adventurous storytelling, Snow White manages to balance itself on a straightforward narrative thread.
Surrounded by an enchanted forest, the princess Snow White (Rachel Zegler) lives her life as a servant following the death of her mother and father. The king and queen had ruled the land with kindness, sharing what they could with all those they cared for. Nobody wanted for anything. After the queen’s death, her father was enchanted by a maiden from a far-off land (Gal Gadot) who wields occult powers. Before his untimely death–or disappearance–the king married her. Soon enough, the stepmother took advantage of the kingdom’s riches, leaving everyone in poverty and hunger. Henceforth dubbed the Evil Queen, she exists only for her beauty until her magic mirror informs her that another maiden is fair and true. Setting out to eliminate the competition, she calls for Snow White’s heart at the hands of her Huntsman.
The rest remains precise in its similarities to the original, except for the film’s third act. Snow White runs off into the forest, comes across the Seven Dwarfs, and soon enough finds strength and bravery to take her inheritance back and restore peace. While the original ended with true love’s kiss, here it’s only the beginning. Often playing with the meanings of fairness in beauty and fairness in what is just, Snow White lives in the grey edges of both innocent childlike wonder and thoughtful provocation. It’s quite difficult to take in Snow White without the worldview of the present socio-political context. With that in mind, it feels ironic to modify a simple story of a princess who finds herself at the mercy of an evil queen’s ire.
In today’s context, the recent take on this story finds Zegler’s princess rescuing her kingdom by taking back the throne with the help of her people. There’s a clear message of a community’s power to overthrow tyranny with the strength of the many against the few. This comes from a studio often blinded by dollar signs, despite them featuring the same message in Wish (2023). All of this is fluffed up with cute animations of animals galore and new songs. Some will fade into oblivion and irrelevance while others may become incessant earworms. The profusion of songs drives home that this iteration should not be mistaken for anything other than a musical.
With that in mind, there are a few tunes worthy of singing their praises. Of the originals, “Whistle While You Work” was quite delightful, showcasing Zegler’s full vocal range and prowess. As for the new ones, “Waiting on a Wish” may leave you with chills, while “Princess Problems” may lead a few to snicker in delight. This is in part thanks to Andrew Burnap’s charm as a bickering counterpart and love interest. At times, his prince felt less like Snow White’s original paramour and more like a live-action Flynn Rider. He’s the leader of a troop of bandits, fighting in the name of the one true king. The build-up to their chemistry will hopefully leave many satisfied. It’s truly giving mushy gushy love story; however, it is all earned.
The dwarves, when it comes to their design, are at times unnerving due to an overwhelming amount of close-up shots. Their iconic mining song also oddly felt more like an opportunity for the musical number to promote and sell the ride at Walt Disney World. As for Gal Gadot’s performance as the Evil Queen, a few may find it over the top. Gadot delivers what the character requires. She doesn’t push the envelope, but she also doesn’t undersell it. In reality, her depiction finds safety in the impressive detail of the costuming and her makeup; it elevates her rendition in every way. The dedication to her complete apparel is enough to make a costume lover cry from its beauty.
This rallying cry against tyranny thrives in small moments. At other times, it fails in comparison to the original. It’s plagued by repetitive dialogue to drive home a message, stripping the magic and wonder in the process. Only so much can be said about yet another attempt at Disney’s fight for pertinence. While entertaining and charming to take in, with jokes that hit and music that will make you grin, unfortunately, this live-action film stands as simply another addition to the mega-studio’s repertoire. Its saving grace lies in Rachel Zegler’s performance, making it a passable, perhaps even enjoyable, viewing experience.
Rating: 5/10
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