20 Mar REVIEW – ‘Snow White’ is an earnest attempt at breathing new life into a classic
After three years of being the internet’s favourite punching bag, Disney’s live-action reimagining of Snow White is finally here. From the “controversy” of casting a Latina in the role of someone traditionally described as having “skin as white as snow” and the backlash surrounding its leading lady’s “woke” criticism of the original animated film to the use of CGI characters instead of live actors for the Seven Dwarfs and the opposing political views of its two stars, this film has caused Disney marketing execs to pull their hair out for months now. Can it rise above the noise to deliver something as magical as the one that started it all for Disney? Yes and no.
There was always going to be a lot riding on remaking a film so foundational to the studio’s legacy that tampering with it was bound to ignite debate. And tamper they did. Snow White reinvents the classic fairy tale with modern sensibilities, swapping out the familiar beats for a more “empowered” narrative while leaving behind some of the elements that made the original both beloved and outdated. It’s visually grand, often charming, and anchored by a genuinely compelling lead performance from the luminous Rachel Zegler. Yet it’s also uneven, plagued by tonal inconsistency, questionable creative choices, and one truly dreadful performance that almost drags the whole thing down.
The story follows young princess Snow White (Emilia Faucher), the cherished daughter of the King (Hadley Fraser) and Queen (Lorena Andrea) who preside over a peaceful kingdom with kindness and compassion for all. After Snow White’s mother tragically passes away, her father remarries an initially sweet woman (Gal Gadot) blessed with mysterious powers. Obsessed with seizing power for herself, the Evil Queen tricks the King into fighting a battle with a neighbouring town; one from which he never returns.
Now an orphaned princess (Zegler), Snow White is forced to work as a servant while the kingdom falls into a bleak land under the Queen’s selfish rule. Gripped by her fixation with youth and beauty, the Queen constantly asks her Magic Mirror; “Who is the fairest one of all?” When the day finally comes when the answer is now her stepdaughter, she furiously orders her Huntsman (Ansu Kabia) to take the princess to the forest and kill her.
Naturally, the Huntsman can’t bring himself to enact the Queen’s nefarious plan, leading to Snow White fleeing to a quaint cottage where she finds refuge with a band of seven magical misfits (voiced by Andrew Barth Feldman, Tituss Burgess, Martin Klebba, Jason Kravits, George Salazar, Jeremy Swift, and Andy Grotelueschen) who help Snow White evade her stepmother’s grasp. After a chance encounter with the rebellious Jonathan (Andrew Burnap), a bandit loyal to the usurped King, Snow White must find her strength to take back the kingdom like her father always wanted.
Throwing off the negativity surrounding her casting (the titular character’s name now derides from the fact she was born during a bitter snowstorm), Zegler steps into the iconic role of Snow White with a natural grace and charm that makes her an effortlessly captivating presence on screen. She’s endlessly radiant, bringing warmth and spirit to the character in a way that feels sincere rather than forced. Her performance is infused with sincerity, and she brings a refreshing modernity to the character without straying too far from the classic Disney princess essence. Zegler’s expressive eyes and melodic voice lend Snow White a warm, endearing quality, and she carries herself with a regal yet approachable demeanour.
Her exquisite soprano singing voice—arguably one of the most crucial aspects of playing this particular Disney princess—is simply stunning, with each musical number benefiting from her rich, expressive tone and her deft ability to hit the highest of notes with ease. The film leans heavily into the heroine’s journey of self-discovery, painting Snow White as an independent and determined leader rather than a passive damsel, gifting Zegler the opportunity to portray the princess as someone more than just a doe-eyed, lovelorn orphan. For those upset the classic number “Someday My Prince Will Come” has been cut, it’s easy to see why once you understand this depiction of Snow White is interested in more than just finding a man to sweep her off her feet.
That being said, Snow White is still inherently a love story, so you can stop clutching your pearls that Disney have done away with the romance element entirely. She still falls in love, albeit not with a prince. She still needs to be saved from a sleeping death by true love’s kiss. Relax. Unburdened by being cast in the one-dimensional royal male archetype, Burnap plays the rebel Jonathan with the same kind of heart and strength that make him the perfect match for Snow White. He sees her for who she is and who she can be, not just a potential bride to whisk away to a castle. Burnap’s chemistry with Zegler is rather gorgeous and their burgeoning courtship feels entirely organic and natural.
One of the film’s undeniable highlights is the voice work behind the dwarfs, who inject much-needed warmth and humour into the narrative. Each performer obviously brings a distinct personality to their respective role, with a particularly endearing turn in the character of Dopey, who adorably steals scenes with his silent yet expressive charm. His playful antics and wide-eyed innocence make him a standout, especially given his mutism is reworked to be a result of fear and doubt rather than an actual medical condition. It allows the character to grow throughout his arc, leading to numerous heartwarming interactions with Snow White.
The absence of real actors for the Seven Dwarfs has been one of the most talked-about changes, and it’s fair to say that the film struggles to compensate for this decision. While the vocal performances shine, the CGI used to bring the dwarfs to life is occasionally far less convincing. Their movements often feel weightless, lacking the physical presence necessary to make them feel fully integrated into the live-action setting. This will only add to the criticism from some members of the dwarfism community that actual little people should have been utilised to give these characters more authenticity.
Unfortunately, Gadot’s Evil Queen is somewhat of a disaster. Given the animated original’s intensely theatrical villain, there was an opportunity here for Gadot to craft a performance that was memorably campy, deliciously sinister, or even darkly comedic. Instead, she offers none of these potentially glorious sensibilities in a strangely wooden, tonally incoherent portrayal that feels at odds with the film’s otherwise heightened energy. Her line delivery is flat, her presence is more awkward than menacing, and when she finally embraces the Queen’s more magical elements, it all comes off as unintentionally ridiculous rather than delightfully wicked. For a character who should command the screen with every sneer and whispered threat, Gadot simply lacks the gravitas needed to make it work.
Visually, the film is mostly a beautiful triumph. The production design from Kave Quinn is stunning, with the lush forests and regal castle interiors bringing a painterly, storybook quality to the film’s world. The costume work from three-time Oscar winner Sandy Powell is equally impressive, with Snow White’s updated iconic blue-and-yellow gown paying homage to the original while feeling fresh and dynamic. Zegler is stuck in this outfit for most of the film, but at least that’s narratively authentic to her plight as a homeless princess. And, as disappointing as Gadot’s performance may be, at least Powell ensures she looks utterly fierce in every frame.
As expected, there’s a whole host of CGI work employed here (the plethora of forest critters is undeniably adorable), but not to the garish levels of something like 2019’s Aladdin. Director Marc Webb seems determined to use physical sets as much as possible, which is a refreshing change from so many Disney remakes where actors are clearly awkwardly stuck in front of a green screen on a sound stage. That being said, the entire musical number of “Heigh-Ho” is a gargantuan CGI creation that pushes a touch too far into the OTT level. The song itself is tremendously fun and now utilised as a tool to introduce each of the dwarfs’ personas. It’s just a shame everything happening around them is so visually overwhelming.
The music, a crucial component of any Disney fairy tale, also lands somewhere in the middle. Written by EGOT winners Benj Pasek and Justin Paul, the original songs are solid, even though they feel painfully similar to other Pasek and Paul creations. They have a template and they stick to it, which is entirely fine. The showstopper “Waiting On A Wish” is the one new track that stands above all others, taking its place alongside modern yearning Disney classics like “Let It Go” and “How Far I’ll Go.” Zegler delivers it beautifully and she knocks it out of the park with the fabulously playful “Whistle While You Work,” which is further elevated by Mandy Moore‘s joyous choreography. The less said about the Evil Queen’s totally unnecessary villain song “All Is Fair” the better.
Perhaps the biggest issue with Snow White is its identity crisis. It wants to be a grand Disney spectacle, a reimagining with a feminist twist, and a grounded coming-of-age story all at once. While elements of each approach work, they never fully coalesce. Moments of lighthearted whimsy sit uneasily next to darker, more serious beats, and the film’s desire to modernise its protagonist sometimes results in awkward dialogue or clunky exposition. There’s an admirable attempt to push the character forward while still honouring the past and that has to be admired when compared to those Disney live-action titles that are nothing more than pointless shot-for-shot remakes.
That being said, when Snow White does work, it works extremely well. There are moments of genuine beauty and emotional resonance, largely thanks to Zegler’s performance, the sweeping love story, and some well-crafted musical sequences. Zegler’s work is infused with sincerity, and she brings a refreshing modernity to the character without straying too far from the classic Disney princess essence. When the film leans into its fairy-tale roots and allows itself to feel magical rather than self-conscious, it becomes something that does indeed recapture that Disney spark. If nothing else, it’s an earnest attempt at breathing new life into a classic. Flawed, yes, but not without its charms.
For all its missteps, Snow White isn’t the disaster some feared, nor is it quite the triumph Disney might have hoped for. It’s a film of contradictions—ambitious yet hesitant, visually striking yet uneven, led by a captivating star but weighed down by a lacklustre villain. Disney purist fans of the original may balk at some of its changes, but they’re absolutely necessary to present something more than just what we’ve seen before. While it may not fully recapture the magic of the 1937 classic, it offers just enough charm and wonder to stand on its own. As Disney continues to reimagine its classics, Snow White proves that while not every choice will please everyone, there’s still room for these stories to evolve while honouring their timeless appeal.
Distributor: Disney
Cast: Rachel Zegler, Gal Gadot, Andrew Burnap, Ansu Kabia, Patrick Page, Andrew Barth Feldman, Tituss Burgess, Martin Klebba, Jason Kravits, George Salazar, Jeremy Swift, Andy Grotelueschen
Director: Marc Webb
Producers: Marc Platt, Jared LeBoff
Screenplay: Erin Cressida Wilson
Cinematography: Mandy Walker
Production Design: Kave Quinn
Costume Design: Sandy Powell
Editor: Mark Sanger, Sarah Broshar
Music: Jeff Morrow
Running Time: 109 minutes
Release Date: 20th March 2025 (Australia)