A TRUE “DISNEY” PRINCESS PROBLEM
Back in 1937, Walt Disney Studios released its very first animated feature film: Snow White and the Seven Dwarfs. Inspired by the 1812 German fairy tale by the Brothers Grimm, the film—supervised by David Hand and directed by a team of five sequence directors (Perce Pearce, William Cottrell, Larry Morey, Wilfred Jackson, and Ben Sharpsteen)—follows the story of a young princess who, after being forced into exile by a jealous stepmother, finds refuge in the forest with seven quirky dwarfs. Meanwhile, the Evil Queen, obsessed with being the “fairest of them all,” schemes to eliminate her. As the first full-length cel-animated feature produced in the United States, Snow White premiered in December 1937 before receiving a wide release in February 1938. Despite industry skepticism at the time, the film became both a critical and commercial triumph, domestically and internationally. Adjusted for inflation and re-released several times over the decades, it has grossed well over $2.2 billion worldwide. At the 1938 Academy Awards, the film earned a nomination for Best Musical Score, while Walt Disney received an honorary Oscar—alongside seven miniature statuettes—in recognition of his groundbreaking achievement. More than just a box office success, Snow White became a cornerstone of the early animation industry, widely regarded as one of the greatest films ever made. It helped usher in the “Golden Age of Animation” and left an enduring cultural legacy, inspiring theme park attractions, merchandise, video games, and even a Broadway musical. Now, nearly 88 years later, Walt Disney Studios and director Marc Webb present a live-action reimagining of the classic tale, with the film Snow White. But the question remains: is this new version the “fairest of them all”… or a rotten apple hiding beneath a shiny surface?
THE STORY
Born during a fierce blizzard, Snow White (Rachel Zegler) was raised in a happy and prosperous kingdom by her loving parents, a queen and king who valued community, equality, and kindness. But tragedy soon struck. After her mother’s death, the king remarried—a mysterious woman who quickly enchanted him and sent him off on a doomed military campaign to the southern frontier, never to return. This new wife, known henceforth as the Evil Queen (Gal Gadot), seized control of the kingdom, plunging it into despair and darkness. While the people suffer under her rule, the Queen spends her days consulting her enchanted Magic Mirror, obsessed with her own vanity and desperate to remain the “fairest of them all.” Meanwhile, Snow White is hidden away inside the palace, forced into servitude as a lowly scullery maid, her presence concealed from the outside world. Everything changes when a charming thief named Jonathan (Andrew Burnap) sneaks into the castle in search of food. In him, Snow White finds an unexpected ally and kindred spirit. Their connection sparks something deeper, drawing the attention, and fury, of the Magic Mirror, which now claims the young princess is more beautiful than the Queen herself. Enraged, the Queen commands her Huntsman (Ansu Kabia) to track Snow White down and return with her heart. But the Huntsman, moved by pity, defies the order and helps Snow White escape deep into the forest. There, she finds refuge with a band of jewel-mining dwarfs, who welcome her into their family. In their company, Snow White discovers peace, purpose, and a renewed sense of hope, as well as a reunion with Jonathan and his group of bandits. But the Queen is not finished. Consumed by jealousy, she launches a final, deadly plan to destroy the girl who dares to be fairer than she.
THE GOOD / THE BAD
To be quite honest, I didn’t watch the entirety of Disney’s Snow White and the Seven Dwarfs (1937) until I was in my mid-teens. I know—that may come as a surprise. But let me explain. Unlike today, where streaming services make nearly every classic film accessible at the touch of a button, Snow White wasn’t readily available during my childhood in the ’90s. I think it wasn’t until the film received a DVD release in the early 2000s that I finally got my first full viewing of Disney’s historic animated feature. Prior to that, my only exposure came through those old Disney VHS sing-along tapes, which featured snippets of songs like “Heigh-Ho,” “Whistle While You Work,” and “The Silly Song (The Dwarfs’ Yodel Song).”
When I eventually saw the movie in its entirety, I genuinely enjoyed it. Yes, it’s far simpler in terms of storytelling and character development compared to modern Disney animated films, but it remains charming and entertaining throughout. The animation, especially for its time, is stunningly beautiful and remarkably magical. Even today, its craftsmanship holds up as a near “lost art” form, something rarely replicated in today’s animation industry. Many of its visual moments still feel iconic, their impact undiminished by time. It’s truly one of a kind. And the voice performances? Distinct, memorable, and full of character.
The narrative is fairly straightforward and streamlined, which makes sense given the context of the 1930s. At the time, audiences were more familiar with short cartoon reels, not full-length animated features. I can see why the filmmakers kept things simple, though that does mean certain characters, like the Prince, feel underdeveloped or pushed to the sidelines.
Still, Snow White and the Seven Dwarfs stands as a true landmark, not just for Disney, but for the entire animation industry. It paved the way for future storytellers and artists, showing the world that animated films could be more than just shorts; they could be cinematic experiences. Its influence helped launch Disney into a global powerhouse of family entertainment. There’s a reason it’s still widely regarded as “the greatest animated film of all time.”
As a side note, I vividly remember the trailers for the 2001 DVD release, especially the ones that highlighted Disney’s legacy of magical artifacts and villains. One teaser began, “Before evil sorcerers cast their spells… before perilous rulers would be kings… before wicked witches ruled the seas… there was an apple.” Another echoed, “Before a magic lamp yielded its power… before an enchanted rose cast its spell… before a glass slipper revealed its magic… there was an apple.” Small moments, sure, but those trailers were powerful and nostalgic, perfectly capturing the legacy of the film that “started it all.”
Which, of course, brings me to the 2025 version of Snow White—Disney’s latest live-action remake based on their original animated classic. Given the studio’s recent decade-long trend of revisiting and reimagining their animated catalog, it was only a matter of time before Snow White and the Seven Dwarfs got the remake treatment. So, when the film was officially announced, I wasn’t surprised. However, given the mixed reception of Disney’s recent remakes, not to mention some questionable casting choices and marketing misfires, I had some lingering doubts.
The trailers and promotional material didn’t do much to ease those concerns, either. Frankly, the previews looked just… okay. Nothing terrible, but nothing exciting, either. Unfortunately, even before the film’s theatrical debut, a wave of controversy had already started swirling around it. I’ll touch on that more during the critical section of this review, but suffice to say: the film was burdened by negative buzz before it even hit theaters. That negativity followed it all the way through release, reflected in its poor box office performance and tepid reviews.
Although Snow White was originally scheduled for theatrical release on March 21st, 2025, I didn’t end up seeing it during its theatrical window. Whether it was the bad press, the lackluster marketing, or just general remake fatigue, I simply wasn’t excited to see it. So I waited. A few months later, when the film hit Disney+, I finally sat down to watch.
And what did I think? Well… unfortunately, I have to agree with the general consensus. While the film shows effort in a few areas, particularly Rachel Zegler’s vocal performance, this new Snow White ends up being a dull, joyless, and clunky remake. It lacks the heart, charm, and craftsmanship of the original and stumbles under the weight of uneven direction, awkward pacing, and uninspired storytelling. To put it simply, this version of Snow White is anything but the “fairest of them all.”
Snow White is directed by Marc Webb, whose previous works include The Amazing Spider-Man, Gifted, and 500 Days of Summer. Given that filmography, Webb does feel like an odd choice to helm a live-action remake of a beloved Disney classic. That’s not to say he isn’t a talented director, he certainly is, but this particular project seems a bit outside his creative comfort zone. Unfortunately, that disconnect shows throughout the film. (More on that later.)
That said, there are a few positives worth acknowledging. Webb does attempt to steer the story in a more modern direction, expanding the tale of Snow White beyond its 1937 origins. Considering how light and underdeveloped the original narrative was, especially by today’s storytelling standards, there’s certainly room for enrichment. To his credit, Webb adds new material in the film’s first act, showcasing Snow White’s early childhood, the death of her mother, the rise of the Evil Queen, and the eventual fall of the kingdom. These additions offer a more grounded sense of world-building and emotional context, lending some depth to the familiar setup. While the execution isn’t perfect, I do respect the effort to flesh out the backstory without straying too far from the spirit of the original.
To Webb’s credit, the expanded narrative doesn’t overstay its welcome. He keeps the film’s runtime to a lean 109 minutes, just under the two-hour mark and about 26 minutes longer than the original. The pacing remains relatively tight, and the story never feels bloated or in need of trimming. That alone sets it apart from many of Disney’s recent remakes, which often suffer from excessive padding.
Visually and tonally, Webb manages to retain the “storybook” charm of the original film. Like the 1937 classic, this version of Snow White is filled with whimsical imagery, quaint visual cues, and fairytale motifs that evoke a sense of wonder. Several moments in the film are genuinely heartwarming, and the presentation carries that “once upon a time” feeling that defines so many of Disney’s animated fairy tale classics. While some of those elements feel toned down or softened (which I’ll touch on later), the overall vibe is still sweet and comforting, and it keeps the spirit of Disney magic alive.
The film also delivers a clear and well-intentioned message centered on kindness, fairness, and love. These themes are explored more thoroughly than in the original, and they integrate naturally into the story without feeling forced or overly preachy. There’s a wholesome sincerity to it all, a gentle reminder of the values Disney has long stood for. Yes, some moments may feel a bit cheesy, but the film’s heart is in the right place. In a world so often marked by division and anger, Snow White’s message of compassion and justice feels refreshingly welcome.
When it comes to presentation, Snow White is a bit of a mixed bag—which, to be fair, matches the movie as a whole. That might sound negative at first, but it’s more of a case of highs and lows that average out to something just… meh. There are a few commendable elements, as well as others that feel underwhelming or misguided.
On the positive side, director Marc Webb and his production team do a solid job crafting a fantasy-style setting that visually supports the film’s storybook tone. From the art direction to the set decoration, there’s a clear effort to bring this whimsical world to life. I have to give credit to Kave Quinn (production design), Stella Fox and Claire Smithson (set decoration), and the entire art direction department for creating a setting that feels visually rooted in fairytale tradition. There’s an appealing texture to the environments—rich in detail and imagination—that helps immerse the viewer, at least visually, into this world.
However, the costume design, handled by the legendary Sandy Powell, is more of a mixed result. While many of the outfits suit the film’s hyper-stylized medieval fantasy aesthetic, a few of the more iconic costumes fall flat. In particular, the designs for Snow White and the Evil Queen feel oddly cheap at times, lacking the refinement or grandeur one would expect from a big-budget Disney production. Rather than feeling cinematic or timeless, they come across more like Comic-Con cosplay, stylized but undercooked. It’s a distracting choice that slightly undermines the film’s visual credibility, especially considering how iconic these characters are.
Cinematographer Mandy Walker brings a few bright spots to the table. Her work occasionally elevates the film with wide-angle shots and clever camera movements that enhance the “storybook” quality Webb is aiming for. There’s a softness to the framing in some scenes that evokes a dreamy, almost painterly atmosphere, which helps sell the fairytale tone when it works.
Lastly, the film’s score, composed by Jeff Morrow, adds a gentle layer of magic. His music features whimsical flourishes and fairy tale-inspired melodies that complement the mood of the film nicely. While it may not be a particularly memorable or groundbreaking score, it effectively supports the story’s emotional beats and helps maintain that light, fantastical ambiance throughout.
Unfortunately, Snow White is far from a perfect film, and, in truth, it’s held back by a multitude of missteps that ultimately make this live-action remake one of Disney’s weakest efforts. It’s not the “fairest of them all.” In fact, it struggles to stand out at all. So, where does it go wrong?
For starters, the movie feels disjointed and unfocused, lacking a clear sense of identity. It swings between being overly derivative and overly simplified, trying to expand on the original while simultaneously losing sight of what made it work in the first place. The screenplay, which was penned by Erin Cressida Wilson, attempts to weave in multiple new plot threads and character arcs, but it ends up overstuffed and undercooked. In under two hours, the film tries to do too much, juggling too many ideas and subplots that ultimately go nowhere.
While the 1937 original was simple and straightforward (by necessity and design), this remake tries to modernize its structure without fully committing to any one vision. The result? A narrative bloated with unnecessary characters, superfluous details, and additions that feel more like filler than meaningful development. At times, it almost feels like two competing scripts were mashed together into one confused product. The pacing suffers. The tone shifts awkwardly. And the story stumbles over itself trying to find focus.
Because of this, it becomes difficult to emotionally connect with many of the characters. Most of them, including Snow White and the Evil Queen, the very heart of the story, are written as flat and uninspired. Rachel Zegler does shine in a few moments thanks to her singing abilities, but her performance (like Gal Gadot’s) is hampered by weak, clunky dialogue that often borders on camp. While the script attempts to rework both characters’ motivations, it only results in uneven development and disjointed arcs. Worse still, neither actor delivers consistently strong performances, and both protagonists and antagonists come across as inconsistent and, at times, miscast.
Then there’s the treatment of the seven dwarfs, one of the most baffling creative decisions in the film. Whether these characters were originally planned to appear as traditional dwarfs or were altered due to early internet backlash is unclear, but the end result feels shoehorned and awkward. In this version, their role in the narrative is greatly diminished. They appear mostly in the second act and serve little actual purpose in the story. The visual effects used to render them are also inconsistent and at times uncanny, giving the impression of something rushed and unfinished. Frankly, the decision not to cast dwarf actors in the first place feels like a missed opportunity, not just for representation, but for authenticity. And as for the seven “bandits”? They’re even worse, utterly forgettable and irrelevant to the plot.
Marc Webb’s direction also falters. While some of the whimsical “storybook” tone is present, his vision for the film feels unfocused. With a muddled script to work from, Webb struggles to establish clear stakes or emotional investment. Many of the film’s key moments, scenes that should feel thrilling or emotionally powerful, end up watered down or reimagined into hollow versions of their former selves. The movie lacks dramatic weight. There’s little suspense, little urgency, and very little that feels inspired. The third act, in particular, is a clumsy, lifeless mess.
One of the most disappointing aspects is how Webb and his team dilute the darker elements that gave the original film its edge. Yes, the 1937 Snow White was a children’s film, but it didn’t shy away from genuinely eerie or frightening imagery. The Huntsman’s near-murder of Snow White, her terrifying flight into the woods, the Evil Queen’s grotesque transformation, and the iconic poison apple sequence all had impact and intensity. Here, those same scenes are toned down to the point of irrelevance. The Queen’s transformation is laughably bad, lacking any sense of menace or dramatic flair, while the poison apple scene plays out with minimal tension or weight. These moments, once iconic, now feel bland, deflated, and completely devoid of bite.
As a personal aside, I’ve always viewed the Queen’s transformation in the original film as more than just a spooky visual, it’s symbolic. It reflects how her obsession with beauty consumes her, literally transforming her into the very thing she fears most: ugliness. It’s a chilling allegory for vanity, jealousy, and revenge. This new version misses that entirely. The scene is played without nuance or weight, losing the thematic significance that once made it memorable.
The film’s musical numbers are another letdown. While the movie retains some of the original songs, like “Heigh-Ho,” “Whistle While You Work,” and “The Silly Song (The Dwarfs’ Yodel Song)”, it also introduces several new tracks. Sadly, most of them are mediocre at best and forgettable at worst. This is especially surprising given that the new music is composed by Benj Pasek and Justin Paul, the acclaimed songwriting duo behind La La Land, The Greatest Showman, and Dear Evan Hansen. With names like that attached, you’d expect memorable, emotionally resonant songs. But here, the new additions fall flat. The only one that mildly stands out is the opening number, “Good Things Grow,” which is catchy and lighthearted. But beyond that, songs like “All Is Fair,” “Princess Problems,” and “A Hand Meets a Hand” feel shallow and uninspired, either poorly written or poorly performed. Ironically, “Princess Problems” ends up unintentionally summing up the entire film: a mess of tonal confusion, inflated ambition, and lackluster execution.
Finally, no discussion of Snow White (2025) would be complete without acknowledging the controversy surrounding its release. The film faced considerable backlash over its casting decisions, changes to the original story, and especially the reimagining of the seven dwarfs. On top of that, lead actress Rachel Zegler made several public comments that drew criticism, from remarks about the original film to more politically charged topics, including the Israel-Palestine conflict. These comments sparked outrage across multiple demographics, leading to calls for boycotts and widespread negativity surrounding the film’s release.
Disney’s handling of the backlash, ranging from inconsistent PR messaging to silence, did little to mitigate the damage. The result? A film buried under the weight of controversy before it even hit theaters. It’s a harsh reminder that, in today’s media landscape, public perception matters. As the old saying goes… less is more. And as the character Thumper from Bambi once taught us, “If you don’t have anything nice to say… don’t say anything at all.”
Naturally, this brings us to the film’s cast, another mixed bag that mirrors the overall inconsistencies of the movie itself. While the project featured two major headliners with the potential to anchor the film, both were marred by pre-release controversy that overshadowed their involvement. Add to that a handful of questionable casting choices, and the end result is a collection of performances that often feel flat, awkward, or just plain miscast.
Let’s start with the titular character. Snow White is portrayed by Rachel Zegler, known for her roles in West Side Story, Shazam! Fury of the Gods, and The Hunger Games: The Ballad of Songbirds & Snakes. Over the past few years, Zegler has risen in prominence, especially praised for her vocal talent—so it’s no surprise Disney chose her for this iconic role. She’s young, charismatic, and can sing, which checks off most of the boxes for a Disney princess.
Of course, her casting didn’t come without controversy, which I’ve already touched on. That said, I personally didn’t mind Zegler in the role. The way the movie introduces her character name feels a bit clunky, but Zegler herself turns in a decent performance. Her acting ranges from warm and kind to slightly over-the-top, occasionally veering into camp, but she carries the role with sincerity. Her strongest asset, by far, is her singing voice. Tracks like “Waiting on a Wish” highlight her range and emotional delivery, arguably the best musical performance in the film. While the revised character arc for Snow White offers more depth than the original, some of the additions feel unnecessary or forced. Still, Zegler remains one of the film’s few bright spots. It’s unfortunate that her off-screen remarks stirred so much backlash, as her performance shows she did put effort into the role.
As a side note, actress Emilia Faucher (A Ring for Christmas and Rosario) also deserves praise for her brief appearance as the young Snow White. She brings a nice touch of innocence and grace to the early scenes.
On the other side of the narrative, we have Gal Gadot as the Evil Queen, Snow White’s vain, jealous, and power-hungry stepmother. Known for her performances in Wonder Woman, Red Notice, and Death on the Nile, Gadot certainly has star power and a commanding physical presence. She fits the aesthetic of the classic fairy-tale villain with ease, but unfortunately, that’s where the positives end.
While Gadot looks the part, her performance lacks the nuance and menace needed for the role. Her delivery is stilted, and her line readings often come across as cartoonish or unintentionally campy. The script doesn’t help, but Gadot struggles to elevate the material, and her portrayal of the Queen ends up feeling hollow and one-dimensional. Her singing performance in “All is Fair” is especially weak, unable to match the song’s intended theatricality or tone. It’s painfully clear that she’s not a trained singer, and the number suffers because of it. To make matters worse, the Queen’s ultimate defeat in this version of the story is laughably silly, poorly staged and lacking any of the dramatic flair found in the original 1937 version. In the end, Gadot feels like a miscast, visually fitting, yes, but lacking the vocal and emotional range to deliver a truly memorable villain.
Another notable character is Jonathan, a rebel who seeks to challenge the Queen’s rule. Played by Andrew Burnap (WeCrashed, Under the Banner of Heaven), Jonathan is a new character created for this adaptation, though he loosely takes the place of the original film’s Prince. Burnap’s performance is… fine. He’s serviceable in the role, with a few decent moments, but his overall impact is minimal. His singing, particularly in the song “Princess Problems,” is mediocre and forgettable. The character himself feels shoehorned into the story, lacking real depth or development. While he’s more involved than the Prince in the original film, the screenplay never gives him enough substance to make his presence meaningful. With stronger writing and a clearer purpose, Jonathan could’ve brought more to the narrative, but as it stands, he’s a missed opportunity.
Additionally, Burnap’s on-screen chemistry with Zegler is adequate at best, but there’s nothing particularly compelling about their dynamic to help “sell” the romantic connection between their characters. It’s serviceable but lacks spark, another missed opportunity in a film that desperately needed stronger emotional anchors.
Then there are the seven dwarfs, arguably some of the most iconic characters from the original Snow White tale. While they do appear in this remake, their presence is diminished significantly, both in narrative weight and visual execution. The CGI used to render them is awkward and unconvincing, often veering into laughable territory. Whether due to creative indecision or external backlash during production, the dwarfs feel more like an afterthought than a meaningful part of the story.
Among the group, the only dwarf who receives any substantial screen time or development is Dopey, a non-speaking, expressive character who communicates through gestures and sounds. Voiced by Andrew Barth Feldman (Saturday Night, White Noise), this version of Dopey is sweet and endearing, and his subplot carries a wholesome, heartwarming touch. However, if you look deeper into his arc and what it represents thematically, it raises a few questions about narrative choices and implications. While poignant in parts, the execution is uneven and, at times, flawed.
The only other dwarf who somewhat stands out is Grumpy, voiced by Martin Klebba (Pirates of the Caribbean: The Curse of the Black Pearl, Scrubs). In the original 1937 film, Grumpy was a key character with an emotional arc that complemented Snow White’s journey. Here, while he has slightly more screen time than most of the others, his role is still heavily reduced and lacks the depth and growth his character once had. That said, Klebba delivers a solid voice performance and brings some presence to the role. Notably, and somewhat frustratingly, Klebba is the only actor voicing a dwarf character in the film who is actually a person with dwarfism. Considering the legacy of these roles and the casting controversies that surrounded this film, this decision feels like another misstep. While Klebba does his best with the material he’s given, the diminished importance of the dwarfs overall makes it hard not to wish the filmmakers had stayed truer to their source, or simply committed to a clearer, more respectful reimagining.
The remaining dwarf characters are voiced by a supporting ensemble that includes Tituss Burgess (Central Park, Unbreakable Kimmy Schmidt) as Bashful, Jason Kravits (The Practice, The Stepford Wives) as Sneezy, Andy Grotelueschen (Coin Heist, A Complete Unknown) as Sleepy, George Salazar (Superstore, American Crime Story) as Happy, and Jeremy Swift (Ted Lasso, Downton Abbey) as Doc. While none of these performances are particularly bad, they’re ultimately forgettable. Most of the characters are reduced to background roles, offering little more than the occasional line or reaction shot. In a story that once gave each dwarf a memorable personality and purpose, this version treats them as minor characters, present, but narratively unimportant.
Faring even worse are the seven “bandits” who follow Jonathan, a group of new characters introduced in this adaptation. These roles are filled by George Appleby (Ravenwolf Towers, Game of Thrones) as Quigg, Colin Michael Carmichael (Hot Fuzz, Wicked) as Farno, Samuel Baxter (Wicked, The Marvels) as Scythe, Jimmy Johnston (Atlantis, Holby City) as Finch, Dujonna Gift (making her film debut) as Maple, Idriss Kargbo (Been So Long, Spent) as Bingley, and Jaih Betote (Wicked, Cats) as Norwich.
To be fair, none of these actors give bad performances—but their inclusion in the film is baffling. Many speculate that these “bandit” characters were originally intended to replace the dwarfs entirely in an early draft of the film, only to be reworked and pushed to the side after backlash. Whether that’s true or not, their presence feels like a leftover idea from a scrapped rewrite. The bandits lack depth, development, or any meaningful contribution to the story. They don’t leave a lasting impression and ultimately take away precious screen time that could’ve been used to flesh out the original dwarfs.
The rest of the cast, which includes actor Ansu Kabia (Last Christmas and Murder on the Orient Express) as the Huntsman, actor Patrick Page (The Gilded Age and In the Heights) as the voice for the Magic Mirror, actress Lorena Andrea (The Little Mermaid and Warrior Nun) as the Good Queen / Snow White’s mother, actor Hadley Fraser (Les Miserable and Murder on the Orient Express) as the Good King / Snow White’s father, actor Adrian Bower (The Last Kingdom and Teachers) as the Captain of the Guards, actor Felipe Bejarano (Mad How Life Works and Bohemian Rhapsody) as Guard Paul, actor Simeon Oakes (My Other Suit is Human and The Fear Index) as Guard Matthew, actor Joshmaine Joesph (SeaView and A Town Called Malice) as Guard William, and Chike Chan (Batman Begins and Everest) as Guard Arthur, are delegated to minor supporting characters in the film. While none really give bad performances and a fairly good in their roles, most of these players are just simply there and don’t have much to do shine in their respective roles. Of all of them, I think that Page’s voice for Magic Mirror was the best, but Kabla’s Huntsman, a character that was featured in the original film, feels underwhelming.
FINAL THOUGHTS
Jealous of her stepdaughter’s beauty and unshakable kindness, the Evil Queen plots her demise—sending the young princess fleeing into the forest, where she encounters a host of allies who help her reclaim her throne and defeat the tyrant who took everything from her. That’s the promise at the heart of Snow White, Disney’s latest live-action remake, directed by Marc Webb. On paper, it’s a modern retelling of the studio’s most iconic animated classic—the film that started it all. In execution, however, this version feels like a cautionary tale all its own. While the film’s intentions may be noble and its heart seemingly in the right place, the final result is something far less magical. Snow White (2025) is a hollow, confused, and frustratingly clumsy adaptation, one that crumbles under the weight of its own misguided ambition. Webb’s direction lacks vision, the script is overstuffed and uneven, the plot meanders through unnecessary additions, and the characters, both new and old, are either woefully underdeveloped or entirely forgettable. Add to that the awkward visual effects, forgettable musical numbers, watered-down drama, and wooden performances, and what remains is a remake that feels less like a celebration and more like a parody of what once was. I didn’t expect much going in, especially given Disney’s recent string of misfires in the live-action remake space, but even with those lowered expectations, this film still managed to disappoint. Nothing about it surpasses the original. In fact, almost every element—from the story and characters to the music and production, feels half-baked, derivative, and devoid of soul. Some decisions are baffling, others are just plain dull. And despite a few earnest performances (Zegler’s vocals in particular), the film never rises above mediocrity. This is a movie that tries to be everything for everyone and ends up meaning nothing to anyone. As such, my recommendation is a definitive skip it. There’s little here that justifies its existence, let alone your time. If you’re seeking magic, heart, or wonder, you’re far better off revisiting the 1937 original, or even other live-action adaptations like Mirror Mirror, Snow White and the Huntsman, or Once Upon a Time. Those may not be perfect, but they at least offer clearer identity and vision. In the end, Snow White (2025) stands as a textbook example of what’s gone wrong with Disney’s current remake formula: uninspired, over-engineered, and emotionally disconnected. A story that once stood as a pillar of animated cinema has been reduced to yet another corporate product, buried beneath misguided updates and a lack of genuine enchantment. And so, this film doesn’t just suffer from the “princess problem”…it is the problem.
1.6 Out of 5 (Skip It)
The Official Website for Snow White Link: HERE
Released On: March 9th, 2025
Reviewed On: July 20th, 2025
Snow White is 109 minutes long and is rated PG for violence, some peril, thematic elements, and brief rude humor
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