Movies

Heigh-ho, oh no, Snow White wastes Rachel Zegler’s talents on a visually unpleasant misfire

BBG News

In simpler terms, YouTuber Dan Olson astutely noted that director Ralph Bashki’s rotoscoping animation style in films like Cool World paved the way for the VFX-heavy blockbusters of today. Remarkably, this is evident in the 2025 movie Snow White, directed by Marc Webb. This film mirrors Cool World by placing its live-action characters in a confusing animated environment. Back in the early 90s, Cool World featured Gabriel Byrne and Brad Pitt in an unappealing, gritty animated setting. Similarly, Snow White leaves Rachel Zegler stranded among unattractive CGI dwarfs and fake woodland creatures that appear cute but are more like overpriced stuffed toys. A movie meant to sell so many plush toys should not evoke Cool World.

As a movie enthusiast, I must admit that the latest rendition of “Snow White” seems to be confining such a talented actress within an endless torrent of computer-generated effects. This only serves to underscore the questionable purpose behind this production. If it’s merely another attempt at animation (albeit with visuals less captivating and colors less vibrant), then I can’t help but wonder, why remake the inaugural masterpiece from Walt Disney Animation Studios?

The storyline of Snow White, in many aspects, appears uncertain and flawed, such as its peculiar narrative. Yet again, Disney Animation is planning a live-action remake that aims to address questions regarding plot inconsistencies that were never of concern to audiences. This updated version portrays Snow White (Zegler) as the child of late noble leaders. Their realm has been corrupted by The Wicked Queen (Gal Gadot), who has transformed a peaceful farming community into an army, constantly searching for precious gems. Upon being declared “the fairest one of all” by her Magic Mirror, The Wicked Queen decides that Snow White must be eliminated.

In this part of the tale, you’re familiar with, White ventures into the woods and stumbles upon a cottage inhabited by the Seven Dwarfs. However, things take an unusual turn. The filmmakers Webb and Erin Cressida Wilson switch between meticulously recreating scenes from 1937’s Snow White and introducing completely fresh content. Among the new elements, Snow White finds herself developing romantic feelings for a character resembling Glenn Howerton, named Jonathan (Andrew Burnap). Along with his band of loosely defined thieves, they offer witty remarks critiquing the stereotypical challenges faced by fairy tale princesses from the year 2005.

In this third act, the “all is lost” scene relies heavily on Webb and Wilson quickly reenacting Snow White‘s entire final sequence from the original tale. This condensed version crams together key elements such as The Evil Queen turning old, a poisoned apple, and an unconscious Snow White, much like squeezing too many clothes into a tiny suitcase. As a result, the film feels more empty than thrilling due to the overcrowding of events within a limited runtime. The emotional connections between characters, particularly Snow White’s relationship with Doc and her companions, are not fully developed. Additionally, it seems odd that this story attempts numerous new narrative elements only to return to the familiar trope of Snow White falling in love with a man she encounters twice. Overindulgence in storytelling elements results in both the film and its viewers finding themselves in a very familiar place.

The excessive amount of action in this movie results in visually disturbing scenes. Let’s delve into the topic of the modern version of the Seven Dwarfs, which unfortunately appear quite grotesque due to poor CGI. These fantastical creatures inhabit the Uncanny Valley alongside other characters such as the cherubs from The Polar Express and the realistically animated creatures from The Lion King. It’s hard to believe that anyone who watched the original Snow White cartoon would want these beloved figures to look so realistic and have unappealing textures. The director’s decision to focus on close-ups of Happy, with his jiggling cheeks, only makes the excessive details even more off-putting. Moreover, why do these seven characters often move as if the film is running at a slow .75 speed, which detracts from attempts at broad comedy? While character actor Martin Klebba delivers some amusing lines as Grumpy, they’re wasted on a digitized character whose every aspect seems to miss the mark.

The poor quality of the visual elements goes beyond just the mystical characters residing in a forest cabin. Even Snow White’s charming animal companions (except for the cute hedgehog) seem underdeveloped. Creatures such as deer or turtles have impressively realistic designs, but their eyes are oversized and this incongruous design doesn’t blend at all. Furthermore, the way Snow White’s musical sequences are filmed by DP Dan Mindel, cinematographer Mandy Walker, and editors Mark Sanger and Sarah Broshar lacks the polish seen in last year’s movie musicals like Wicked and Better Man, which impressed audiences with their well-executed set pieces.

In this production, visual confidence seems absent. The dance sequences, crowded with performers showcasing their footwork, are edited chaotically, with the camera frequently switching between tight shots. There’s hardly a chance for viewers to appreciate the choreography and costumes. The new song “Princess Problems” is intended as a romantic duet, similar to La La Land’s “A Lovely Night.” However, it lacks the charm and vitality found there. The staging feels dull, and the camera movement is surprisingly static. Despite this, I did find myself unintentionally amused when “Princess Problems” suddenly cut to a group of animal spectators clapping along to the music. It’s funny how a musical number needs a reminder for the audience to enjoy themselves!

It’s only fair to acknowledge that the visual artists behind Snow White might have been limited in their creativity due to the rather bland lyrics of the new songs in this feature. The songwriters, Benj Pasek and Justin Paul, are known for creating forgettable tunes, such as those from Snow White, Lyle, Lyle Crocodile, The Greatest Showman, or Aladdin (2019). Similar to their previous work, they deliver run-of-the-mill pop songs without much effort. The opening song, “Good Things Grow”, sets the tone for this issue by failing to provide the intricate lyrics that introduce a specific location found in other musical numbers (“Belle”, “Mountain Town”). The inhabitants of Snow White’s kingdom seem rather one-dimensional due to lyrics designed to fit bands like Imagine Dragons or Maroon 5.

The hit single by Snow White titled “Waiting on a Wish” unfortunately doesn’t fully utilize Zegler’s remarkable vocal talent, as the song seems reminiscent of a secondary track from Rachel Platten. Despite this, Zegler continues to convey genuine intense feelings through her singing and acting prowess, even when performing such a weak imitation of classic power ballads like “Defying Gravity” and “I Am Telling You I’m Not Going.” The least appealing song among these is undeniably the Evil Queen’s anthem “All Is Fair,” as it features Gal Gadot rapping, which is a cinematic experience that even Pier Paolo Pasolini might find excruciating.

As a movie enthusiast, I must confess that Gal Gadot’s singing abilities are merely the start of a performance that’s more iceberg than tip, brimming with off-key line deliveries. When she attempts to go full-throttle for “All Is Fair,” it feels like an amateur trying too hard to emulate a drag queen based on just ten seconds of RuPaul clips on TikTok. Every moment of her performance screams of cringe-worthy misjudgment, far from the fearless conviction that defines great camp performances. It doesn’t help matters that whenever Gadot shares the screen with Snow White’s leading lady, the former West Side Story star steals the show without a doubt. Watching Gadot act alongside Zegler is reminiscent of trying to watch George Burns outshine Shaquille O’Neal on the court.

If anyone manages to emerge from this predicament unscathed, it’s Rachel Zegler. Her voice is nothing short of divine, and every time she hits those high notes, it feels like a blessing. In her screen appearances, she convincingly portrays genuine emotional depth, making Snow White’s expressions of kindness feel heartwarming and inviting. It’s almost unfair then, that the director known for ‘The Amazing Spider-Man 2’, ‘The Only Living Boy in New York’, and a music video for Daniel Powter’s “Bad Day” has her working with digital monstrosities and subpar Pasek & Paul songs. Zegler’s performance is filled with conviction and real human emotion, so why is she stuck in a movie as narratively muddled and empty as Snow White? Both Rachel Zegler and musical film enthusiasts deserve something more than this animated feature, which even surpasses the unpleasantness of Cool World.

Read More

2025-03-25 17:15

Previous post Atari Releases Breakout Beyond Launch Trailer
Next post Is this the guy who stood up Jamie Marinos?