Disney’s Remake Is Better Than Expected But Still Dopey

He would have come to this at the end. Starting in 2010 with the “Alice in Wonderland” version from Tim Burton, the Disney Enteintment complex discovered that it could only make billions of reinterpreted the most popular animated films using modern and modern CGI actors. In the past fifteen years, the company has formed its own catalog, and nostalgia was filled with the brains of the millennial generation, such as a lot of sperm. This was a strange practice, as the largest part of the films they were returning were already based on popular tales, old stories, or children’s literature that was frequently adapted by makers around the world.

It was useful to allow the brooms of these versions (regardless of the nostalgia money to the past) to allow Disney to preserve the science of its ownership deeply planted in tales such as “Cinderella”, “Aladdin” and “The Little Mermaid”, and stresses that the “official” version is the “official” version. Hans Christian Andersen is just an old penetration, and there is no need to re -adapt source materials. Disney cannot possess stories in the public domain, but they can use the strong marketing department that looks like an octopus to ensure the audience’s thinking about their films as the default version. However, this spirit often applies to the features, and many of its legendary short films in the 1930s tend to overlook it.

An example of this was the first feature film released by Disney, in 1937, “Snow White and the Seven Dwarfs”, adapted from the story of 1812 published by the Grimon brothers. This film, directed by David Hand and starring (The Discord Donical) Adriana Castelotti, was a tremendous success and set a standard for all future visions of Grimm. Type of Disney “owns”, despite dozens of “Snow White” modifications that have since come.

With the 2025 Mark Web edition of “Snow White”, Disney once again confirmed its ownership of their own materials, and her update to a modern audience. The result is, although mercenary motives are observed in a citizen. It is hollow, but unlike some modern buildings, it seems to have ideas in her head.

Another reason for the Disney Rumake race was to address online criticism for their movies. “Beauty and the Monster” often criticized (somewhat laziness) as a story of Stockholm syndrome, which is taken by a new edition of Disney. Some complained that the monster slaves did not deserve to be cursed in the 1991 moving version, so a new edition of the work/CGI made it clear, yes, they did so. The exclusion of some critics from the fact that “Aladdin” was about the personalities of the Middle East, but they appeared largely egg representatives, so Jay Richie has fixed this. Disney fans complained that Cinderella and Amir Charindege had no romantic chemistry in the 1950 animation movie, so he gave them a new edition of Kenneth Branch. Thanks to Tim Burton, we now have an accredited version of “Dumbo” without racist cartoon fees.

The criticisms that Mark Webb seems to be treated in “Snow White” is that the story that has previously washed the beauty of the title. In the 1937 movie, Snow White Latifa was innocent, almost childhood in its naive, and it was a personal feature, the most prominent of which was her beautiful pale skin (and then the name). Webb Snow White (Rachel Zegler) does not give more agency and activity-it is involved in a largely non-bloody revolution-but it bends back to redefine its name and what it means to be “justice to them”. In this version of things, Snow White was born during a snowy storm, a position whose royal parents considered a miracle. They called her after snow. She no longer has a burden to name her fair skin (to remind readers, it was a standard of beauty from the early nineteenth century European aristocratic).

This redefinition allowed Webb to throw a charming and talented major actress that had no pale skin. Zeger may be the most prominent in “Snow White”, bringing a lot of chanting and magic to a largely written part.

Webb also aims to redefine the word “fair”. When the evil queen (Gal Jadot) asks her magic mirror (Patrick Big) that she just earths, the mirror indicates that “fair” can mean “beautiful”, but also “Adel”. The Queen is the most beautiful, but Snow White, who was brought up by members of the queen of her charitable kingdom, has a stronger feeling of justice. It also celebrates the Kingdom of its headquarters in mutual kindness and participation. Snow White promotes a communist example, while the evil queen raises the kingdom’s wealth and turns her residents from bakers and farmers into soldiers. It is peace, society, and the spread of apples in exchange for vanity, greed and violence. These are not revolutionary ideas, but webb at least folds them somewhat safely in a myth that was previously revolving around vanity.

The “Snow White” plot is the same 1937 movie. The new father’s wife immediately turns the kingdom into a violent place and Drakoni, where she sent King (Hadley Fraser) on a dangerous war mission that does not return from her. Snow White becomes a maid in the castle, where she only attracts the anger of the Queen when the magic mirror teaches her that Snow White is more fair than her. Snow White secretes the killer’s attempt to contain the queen and ends up hiding in the woods with a group of miners. In this way, “Snow White” is a new edition of the 1971 Don Siegel movie.

Webb’s Code Wrinkle is that Prince Charming’s Snow White, a new character called Jonathan (Andrew Bernab), is also hiding in the forest with a set of errors and loser. Like Robin Hood, it causes harm to the queen’s street soldiers and claims to be fighting in the name of the king, in the hope of restoring the Communist poet through the violent revolution.

Webb does not tend to “Snow White”, but it is refreshing that the film has a political point of view. It symbolizes equality and speaks against greed. Conditioner is a revolutionary tool. Dialogue is clinical and positional, and “Snow White” often distracts his political points (most of them are long scenes of dwarfs), but they are more than just re -forming “Alice in Wonderland”, “Beauty and Monster”, “The Lion King”, or “The Little Mermaid”.

Here are the seven dwarves of the 1937 movie here as well. They get a “Height Ho” display singing, which still does not coincide with the Tom waits cover. This time, however, the seven letters are CGI creations with magic powers; The gemstones they dig from mines have unlimited magic properties that have no effect on the plot. They have realistic body consistency, but huge cartoon features, which makes them humans and nightmares with turns. Dubi (Andrew Barth Feldman) is very similar to Alfred E. They are not human, human, but the Sufi statues, a change that is supposed to have any uncomfortable ill -treatment of young people,; Peter Denclage objected to a new version of “Snow White” a new edition for this particular reason. Now miners are no longer a human being, unlike the real George Apple (and very funny), a young person who plays a crossed hunter.

It seems that the seven Sufi mines do not have much of the character until they start interacting with Jonathan and his apartment. It works better as the background numbers, not stars. It is unfortunate that Dopey has given an emotional story, because it is difficult to take care of it.

Despite all the policy mentioned above, although “Snow White” is ultimately a medium drama. Jadot, as the evil queen, is trying to reach her best capabilities, but her scenes are very polite so that she does not really become a delicious evil. It is legally bad in this role. Some new songs are fun – I was fond of “Princess problems”, a hymn of a hymn that Jonathan shares with Snow White – but others drown in the background. Production design is respectful, and depends on the taste of a moving movie for simple primary colors. It is only allowed for the evil queen to dress in black and purple mostly.

The additional lines and characters make “Snow White” very occupied by the end. The scene in which the evil queen uses dark magic to convert herself into Crohn, it occurs incredible speed, serves one function, then it is retracted with the same speed. The poison apple from the 1937 movie becomes a footnote in the new version. Unfortunately, Mark Webb had every opportunity to play with Eid pictures. I felt almost as if it was possible to cut out toxic apple scenes of speed. This is a bad way to feel about Mashhad Kan, in 1937, he knows the picture.

Ultimately, “Snow White” is better than “beauty and monster” and “The Little Mermid” – with a long shot – but it is not as good as “Cinderella” Prana or Dumbo Prana. Unfortunately, it is generally generally to bear a boring shine to authorize companies. This is another satirical institution, taking advantage of some nostalgia in the hope that we will pay for the same high that we had children. Marc Webb does something he can to bring thinking and personality in this mix, and Zegler is a specific cinematic star, but at the end of the day, it appears that “Snow White” like the little Triple. He didn’t make me happy, but at least I was not angry.

/Film degree: 6.5 out of 10

Snow White opens in theaters on March 21, 2025.