‘Snow White’ Review: A Disney Princess’s Pointless Return
Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.
Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.
Even in Hollywood, pre-eminent in the field of chutzpah, greatness can be intimidating. Rarely does one hear producers discuss their plans to remake “Casablanca” or “Lawrence of Arabia.” It took Disney many years of creating live-action remakes of its classic animated features before it worked up the nerve to take another whack at its first, and perhaps most venerated, work, “Snow White and the Seven Dwarfs,” which in 1937 set the template for richly evocative animation that could appeal to all ages. It is still, in inflation-adjusted dollars, the 10th-highest-grossing movie ever released in North America.
Disney’s first “Snow White” isn’t perfect—the prince is badly underwritten and doesn’t even get a name—but it is, by turns, enchanting, scary and moving. Version 2.0, starring Rachel Zegler in the title role and Gal Gadot as her nefarious stepmother, has been in the works since 2016 and already feels like it’s from a bygone era. After fans seemed grumpy about the rumored storyline and the casting of Ms. Zegler, Disney became bashful about releasing it last March and ordered reshoots to make everyone happy. Unfortunately, the story is so dopey it made me sleepy.
Directed by Marc Webb (“The Amazing Spider-Man” with Andrew Garfield ), the remake is neither a clever reimagining (like “The Jungle Book” and “Pete’s Dragon,” both from 2016) nor a faithful retelling (like 2017’s “Beauty and the Beast”), but rather an ungainly attempt at modernization. The songs “I’m Wishing” and “Someday My Prince Will Come” have been cut; the big what-she-wants number near the outset is called “Waiting on a Wish.” Instead of longing for true love (=fairy tale), Snow White hopes to sharpen her leadership skills (=M.B.A. program). And she keeps talking about a more equitable distribution of wealth in the kingdom she is destined to rule after her mother, the queen, dies and her father, having made a questionable choice for his second spouse, goes missing.
Ms. Gadot, giving it her all, is serviceable as the wicked stepmother. But she doesn’t bring a lot of wit to the role, and the script, by Erin Cressida Wilson , does very little to help. Her hello-I’m-evil number, “All Is Fair,” is meant to be the film’s comic showstopper but it’s barely a showslower, a wan imitation of “Gaston” from “Beauty and the Beast” or “Poor Unfortunate Souls” from “The Little Mermaid.” The original songs, from the songwriting team of Benj Pasek and Justin Paul (“La La Land”), also stack up poorly against the three tunes carried over from the original “Snow White,” each of which has been changed from a sweet bonbon into high-energy, low-impact cruise-ship entertainment. So unimaginative is the staging of the numbers that it suggests such straight-to-Disney+ features as 2019’s “Lady and the Tramp.”
After escaping a plot to kill her, Snow White becomes friends with a digital panoply of woodland animals and with the Seven Dwarfs, who instead of being played by actors are also digital creations. The warmth of the original animation is totally absent here; the tiny miners look like slightly creepy garden gnomes, except for Dopey, who looks like Alfred E. Neuman . As for the prince, there isn’t one; the love interest, Jonathan (a forgettable Andrew Burnap ), is a direct lift of the rogue-thief Flynn Rider , from 2010’s “Tangled,” plus some Robin Hood stylings. His sour, sarcastic tribute to the heroine, “Princess Problems,” is the worst Snow White number since the one with Rob Lowe at the 1989 Oscars.
Ms. Zegler isn’t the chief problem with the movie, but as in her debut role, Maria in Steven Spielberg’s remake of “West Side Story,” she has a tendency to seem bland and blank, leaving the emotional depths of her character unexplored even as she nearly dies twice. Gloss prevails over heart in nearly every scene, and plot beats feel contrived. She and Jonathan seem to have no interest in one another until, suddenly, they do; and when he and his band of thieves escape from a dungeon, they do so simply by yanking their iron chains out of the walls. Everything comes too easily and nothing generates much feeling. When interrogated by the evil queen, who wants to know what happened to her stepdaughter, Jonathan replies, “Snow who?” Which would be an understandable reaction to the movie. “Snow White” is the fairest of them all, in the sense that fair can mean mediocre.
A divide has opened in the tech job market between those with artificial-intelligence skills and everyone else.
A 30-metre masterpiece unveiled in Monaco brings Lamborghini’s supercar drama to the high seas, powered by 7,600 horsepower and unmistakable Italian design.
A 30-metre masterpiece unveiled in Monaco brings Lamborghini’s supercar drama to the high seas, powered by 7,600 horsepower and unmistakable Italian design.
When Lamborghini takes to the water, subtlety isn’t on the agenda. Unveiled at the Monaco Yacht Show, the Tecnomar for Lamborghini 101FT is a 30-metre superyacht that fuses Italian automotive theatre with cutting-edge naval engineering.
The model builds on the collaboration that began in 2020 with the Tecnomar for Lamborghini 63, a sell-out success that celebrated the marque’s founding year.
This new flagship pushes the partnership between Automobili Lamborghini and The Italian Sea Group to a grander scale, designed to deliver the same adrenaline rush at sea that drivers expect behind the wheel.
“The Tecnomar for Lamborghini 101FT redefines the concept of nautical luxury,” said Stephan Winkelmann, Chairman and CEO of Automobili Lamborghini.
“It is not only a yacht, but an affirmation of Italian excellence. The Italian Sea Group and Automobili Lamborghini share an exclusive clientele who are passionate about beauty, technology, and extreme performance.”
Design cues are unmistakably Lamborghini. The yacht’s sharp exterior lines echo the Fenomeno supercar revealed at Monterey Car Week, complete with Giallo Crius launch livery and signature Y-shaped lighting.
Inside, the cockpit and lounges mirror the DNA of Sant’Agata supercars through hexagonal motifs, sculptural seating and dramatic contrasts. With accommodation for up to nine guests and three crew cabins, indulgence meets practicality on every deck.
Performance is equally uncompromising. Three MTU 16V 2000 M96L engines and triple surface propellers generate a combined 7,600 horsepower, driving the yacht to 45 knots at full throttle, with a cruising speed of 35 knots. Two 35 kW generators provide additional efficiency and reliability, ensuring the yacht’s power matches its presence.
Mitja Borkert, Lamborghini’s Design Director, said: “With the Tecnomar for Lamborghini 101FT, we aimed to create a product that embodies the main design characteristics of our super sports cars. All the details, from the exterior to the colour, to the interior areas, recall and are inspired by Lamborghini’s DNA.”
Presented in scale at Monaco, the definitive Tecnomar for Lamborghini 101FT is scheduled to hit the water at the end of 2027. For those who demand their indulgence measured not only in metres but in knots, this is Lamborghini’s most extravagant expression yet.
ABC Bullion has launched a pioneering investment product that allows Australians to draw regular cashflow from their precious metal holdings.
By improving sluggish performance or replacing a broken screen, you can make your old iPhone feel new agai