There’s this strange argument that comes up anytime a remake is announced regarding the “justification” for it. There was a time when this reviewer felt the same, especially as the remake was often of a beloved title or, at the very least, one with a fervent fan base rather than a title with a good idea poorly executed; but, now, I’ve come to realize that no title — original, remake, or reboot — has justification beyond the same genesis: someone believes it’s a good idea. In this vein, one comes to see director Marc Webb’s (The Amazing Spider-Man films) live-action Snow White as a version for a new generation, one which can embrace a character more frequently defined by those around her (the dwarves; Evil Queen; Prince Charming) in a story befitting the times. By hewing so closely to the original animated film (versus the source material), this live action remake finds itself bound to familiarity, but when it pushes against the stitching, something novel and engaging emerges. If the film is something you enjoyed in theaters, Snow White is available on digital and physical formats with several bonus features that guide curious viewers toward enlightenment.
Rachel Zegler as Snow White in DISNEY’s live-action SNOW WHITE. Photo courtesy of Disney. © 2024 Disney Enterprises, Inc. All Rights Reserved.
Once upon a time, a kingdom was ruled by a Good King, a Good Queen, and their daughter, Snow White (Hadley Fraser, Lorena Andrea, and Emilia Faucher, respectively). For a time, things were good and the people prospered, sharing in all that the kingdom had: food, minerals, textiles, and more. But after the queen passed and the king remarried, the kingdom turned insular and Snow White soon found herself relegated to servant status. Now, as tensions continue to mount and a resistance builds to The Evil Queen’s machinations, Snow White will find herself in a leadership position which her parents prepared her for so long ago — but will good intentions be enough to dethrone the magic-wielding ruler?
Gal Gadot as Evil Queen in Disney’s live-action SNOW WHITE. Photo courtesy of Disney. © 2024 Disney Enterprises, Inc. All Rights Reserved.
I’m going to come out and say it: the film is fine. Does it often feel like a combination of Ever After: A Cinderella Story (1998), The Huntsman: Winter’s War (2016), and the original animated film? Sure. But it also seems strangely timely. It’s version of Snow White is a reluctant leader whose methods of raising everyone up via virtue is seen as an impossible task against a selfish ruler whose every aim is guided by their own vanity and self-preservation. As I screened the film, citizens of the greater Los Angeles area participated in various peaceful protests against ICE as they sought to illegally detain and arrest individuals and the current administration sought to paint it as a violent uprising that required military involvement despite statements from the LAPD, Mayor Bass, and Governor Newsom proclaiming the opposite. One, of course, can’t help but find the desire to send the military to California suspect as the Department of Homeland Security is about to spend the last of their budgeted allocations for the year and military action would enable them to continue to fund operations by piggy-backing. The point, dear reader, is that The Evil Queen is positioned as coveting the throne so as to take on the wealth of the nation for herself (the costumes shift from a more plain velvet look in her introduction to gem-like decorations adoring her whole outfit by the end) and being willing to cut down anyone who could possibly threaten her beauty or wealth, marketing it as for “the greater good” while actually hoarding for herself. Conversely, Snow White knows the names of all the citizens, understands their occupations and relationships, and seeks to unite by celebrating their contributions. Where one sees weakness in coming together, the other sees prosperity. Where one sees a protest to protect what matters, another sees a riot and excuse enough to cut the heart out of an innocent. If art takes its meaning from what the audience infers from it, then Snow White becomes akin to a glitter bomb at fascism, decrying militaristic force as the weak person’s tool for governance when a kind heart and open hand can do so much more. Of course, many of these elements were already in the tale, but the script by Erin Cressida Wilson (Secretary) makes this far more plain in this latest interpretation.
Much of the success of Snow White hinges on the believability of Zegler (West Side Story) in any given situation. Her performance presents a Snow White who is soft without being completely naive, vulnerable without being a sucker, and able to rise to her destined status without the entitlement one might expect. Zegler makes us believe in Snow White’s optimism via a radiant sincerity, giving the character a depth absent in the 2D original. This is necessary in order to believe that Snow White is capable of inspiring rebellion through good words and deeds and without picking up a sword. This being a fairytale, one is willing to go along with it.
Interestingly, part of what sets this film apart from its famed predecessor is what makes the film feel like an amalgam of other works — Webb found unused drawings in the vault of Charming chained in The Queen’s dungeon. As explained in the featurette “Fearless, Fair, Brave, and True: Making Snow White,” this would serve as a pivotal piece of the narrative from which other aspects would be created and the film we see spawned. This point is to address another aspect that works for the film, even if it seems, at times, derivative — Charming is not the hero of the tale by virtue of being male. Called Jonathan here and played by Andrew Burnap (The Front Room), Snow White’s true love is made a bandit, stealing to provide for himself and others, less in a Robin Hood-way and more self-preservation (see: Aladdin), and, through Burnap’s performance, we are able to see that his existence is as much the fault of The Queen’s as Snow White’s, thereby making him her responsibility, as well. To Burnap’s credit, Jonathan is given a rogue’s charm and a face-turn that makes sense within the context of the script, providing the expected love story with an effective twist that offers at least the sensation of being earned. As the villain of the story, Gadot (Wonder Woman) does a serviceable job. Frankly, the costuming does the majority of the work, leaving Gadot to mostly emote the correct attitude that’s become iconic all on its own (charming for visitors of Disneyland/Disneyworld; less-so for characters in-universe). The actor ensures that the audience believes that it’s The Evil Queen’s vanity and greed which drive her. Seeing as other changes were being made to adjust the story for the times, taking it beyond surface-level vanity would’ve made for a more profound villain turn. That Wish’s King Magnifico (voiced by Chris Pine) is a substitute Evil Queen, it’s odd that his characterization contains layers whereas no opportunity was taken to apply some here. This isn’t to suggest that the audience needs a reason to sympathize with why The Evil Queen is as she is; some people are just self-centered and willing to let the world burn if it benefits them. However, this could’ve provided a moment to make The Evil Queen *more* as it does with Snow White and it never happens, leaving one wondering why she just keeps running to the mirror and being focused on her looks.
In terms of the bonus features, the digital version of the film this review is based on, provided by Walt Disney Studios, includes three featurettes, three deleted scenes, a blooper reel, and the option to revisit the musical sequences. Typically, if items are available on digital, they’ll be included on the physical edition, but this isn’t always the case (see: The Alto Knights) and the release information suggests that some bonus features may be limited by retailer and edition. Look closely before picking up your version. The first featurette, the aforementioned “Fearless, Fair, Brave, and True: Making Snow White,” is an all-inclusive 11-minute featurette which offers the perspective of Webb, Zegler, producer Marc Platt (La La Land; Wicked), and others on the making of the film including casting (with a glimpse of Zegler getting the official word), costume design, performing the songs (sung live on set), set design, and plenty more. This is the catch-all featurette for those looking for an overview. If, however, you enjoyed the songs crafted by The Greatest Showman/Lyle, Lyle, Crocodile songwriters Benj Pasek and Justin Paul (and they are quite charming), you’ll want to check out the nine-minute “Merry Tunes” featurette in which they discuss, you guessed it, the thought process behind songs like “Princess Problems” and “Good Things Grow,” as well as address the alliteration of it all. Finally, because the look of Snow White is critical to capturing the transposition from animation to live-action, the third featurette, “Fairy Tale Fashion,” is an almost nine-minute walkthrough from costume designer Sandy Powell (The Favourite; Mary Poppins Returns) looking at the design choices for Zegler’s Snow White, Gadot’s Evil Queen, and even the dwarves themselves. One doesn’t necessarily think about the artistry that goes into the smallest of details that the audience won’t notice, but, because the actor will and it can make a huge difference in the performance, Powell takes great pains to nail each character’s costume design. The three deleted scenes are just over two minutes in total and one can see why they were cut as they don’t really bring a whole lot to the overall plot or tension, and the blooper reel, at just over two-minutes, offers the usual goofy on-set behavior that makes bloopers fun.
Of course, if the bonus features are of no concern, Snow White is on Disney+ as of June 11th.
All in all, Webb’s version of Snow White is an entertaining piece of storytelling that may work to dazzle a new generation of Disney fans. One doubts whether this version will have the same legacy as its predecessor, but this film isn’t necessarily impactful because of what the source did (built the entirety of Walt Disney Studios) but for who comes next. In that vein, being fine for me is just right as I’m not the target. I can see beyond the metaphor of The Evil Queen to proper villains in the world and I can see beyond the avatar of Snow White to the heroes. I don’t need songs to tell me what true love is or why being fearless, fair, brave, and true are virtues that too few lack. I’m not saying that Snow White is going to lead to someone’s first brick-throwing, but it may just be the message that presents a future Evil Queen from questioning a magic mirror when they should be talking to someone tangible.
Snow White Special Features*:
- Sing Along with the Movie: Sing along with your favorite songs while watching the movie with onscreen lyrics.
- Three (3) Deleted Scenes (2:20)
- Fearless, Fair, Brave, and True: Making Snow White – Take a look behind the scenes with director Marc Webb, cast and crew as they share their vision for this live-action reimagining of Snow White, highlighting how they honor the legacy of the original story, including the characters, set design and more. (11:41)
- Merry Tunes – Go behind the songs with filmmakers and songwriting duo, Benj Pasek and Justin Paul. Hear about their new songs and how they beautifully intertwine with the classics. (9:30)
- Fairy Tale Fashion – Get an in-depth look at the fashion and costuming for the film, featuring legendary costume designer Sandy Powell. Along with filmmakers and cast, Sandy provides insight into how she brought iconic looks to life for Snow White, The Evil Queen and more. (8:53)
- Bloopers – Discover all the fun and laugh along with the cast as they have the time of their lives making Snow White. (2:28)
*Bonus features may vary by product and retailer
Available on digital May 13th, 2025.
Available on Disney+ June 11th, 2025.
Available on 4K UHD, Blu-ray, and DVD June 24th, 2025.
For more information, head to the official Walt Disney Studios Snow White webpage.
Final Score: 3 out of 5.
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Categories: Home Video, Reviews, streaming
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