Following the benevolent King's disappearance, the Evil Queen dominated the once fair land with a cruel streak. Princess Snow White flees the castle when the Queen, in her jealousy over Snow White's inner beauty, tries to kill her. Deep into the dark woods, she stumbles upon seven magical dwarves and a young bandit named Jonathan. Together, they strive to survive the Queen's relentless pursuit and aspire to take back the kingdom.
Rachel Zegler's performance is the one thing critics across the board could agree on, but almost everything around her — the CGI dwarfs, Gal Gadot's Evil Queen, and the film's tonal instability — drew skepticism or outright scorn. The film's modernized themes divided critics most sharply: some found the female-empowerment angle refreshing, others found it formulaic or surface-level, and a vocal minority considered the pseudo-progressive additions actively tiresome. British critics were notably harsher than their American counterparts, and audience scores have landed far below what critics gave it.
“none of it has the sweetness and imagination of the animated feature”
Nell Minow·RogerEbert.com
“a fascinating case study”
Amy Nicholson·Los Angeles Times
“[Marc] Webb gets the job done with minimal muss and fuss, and whenever Zegler is onscreen, the film manages to conjure up some of that good old Disney magic.”
Daniel Bayer·AwardsWatch
Family, Fantasy
Following the benevolent King's disappearance, the Evil Queen dominated the once fair land with a cruel streak. Princess Snow White flees the castle when the Queen, in her jealousy over Snow White's inner beauty, tries to kill her. Deep into the dark woods, she stumbles upon seven magical dwarves and a young bandit named Jonathan. Together, they strive to survive the Queen's relentless pursuit and aspire to take back the kingdom.
Rachel Zegler's performance is the one thing critics across the board could agree on, but almost everything around her — the CGI dwarfs, Gal Gadot's Evil Queen, and the film's tonal instability — drew skepticism or outright scorn. The film's modernized themes divided critics most sharply: some found the female-empowerment angle refreshing, others found it formulaic or surface-level, and a vocal minority considered the pseudo-progressive additions actively tiresome. British critics were notably harsher than their American counterparts, and audience scores have landed far below what critics gave it.
“none of it has the sweetness and imagination of the animated feature”
Nell Minow·RogerEbert.com
“a fascinating case study”
Amy Nicholson·Los Angeles Times
“[Marc] Webb gets the job done with minimal muss and fuss, and whenever Zegler is onscreen, the film manages to conjure up some of that good old Disney magic.”
Daniel Bayer·AwardsWatch
Family, Fantasy