This came to this in the end. Starting in 2010, with the release of Tim Burton's non-well "Alice in Wonderland", Disney's entertainment complex has revealed that they could make billions just processing their most popular animated films using live actors with action and contemporary CGI. In the last 15 years, the company has been happy to cannibalize its own catalog, siphoning nostalgia from the millennial brains as so much cerebrospinal fluid. This was an iousubopy practice, as most of the films they rethinked have already been based on folk tales, ancient stories or children's literature that often adapt to filmmakers around the world.

Raison d'tre of these remake (except for the money of nostalgia) It was seemingly to allow Disney to keep its flag of ownership deeply planted in stories such as "Cinderella", "Aladdin", and "The Little Mermaid", assuring the audience that yes, their version was "official". Hans Christian Andersen is just an old hack, and there is no need to re -adjust the source material. Disney cannot possess stories in the public domain, but they can use their powerful, octopus-like marketing department to ensure the public thinking about their films as a standard version. However, this Ethos refers to features, and their very mythical short films from the 1930s tend to be neglected.

Case in point: The first feature film released by Disney, as early as 1937, was "Snow White and the Seven Dwarfs", adapted from the story of 1812 published by the Grimm Brothers. That movie, directed by David Hand and in the lead role (unfairly treated) Adriana CastellottiIt was a huge success and set the standard for all future visions of Grimm's character. Disney kind of "owns" it, despite the dozens of "Snow White" adaptations since then.

With the remake of Mark Webb in 2025 Snow White, Disney again claims their property over her own material, updating it for a modern audience. The result is, despite paid motivations, can be seen. It's hollow, but unlike some recent remake, there seems to be thoughts in the head.

Another Raison d'tre of Disney Remakes is to address the criticism online of their films. "Beauty and Astecar" has often been criticized as a story about Stockholm syndrome, which addresses Disney's remake. Some complained that astter servants did not deserve to be cursed in the animated version in 1991, so the live remake with action/CGI explained that yes, they did. Some critics were excluded from the fact that Aladdin referred to the characters of the Middle East, but they were greatly white actors, so Guy Richie's remake fixed it. Disney fans complained that Cinderella and Prince Charming had no romantic chemistry in the 1950 animated film, so Kenneth Branag's remake gave them some. And, thanks to Tim Burton, we now have an authorized version of Dambo without racist cartoons.

The criticism that Mark Webb seems to be addressing Snow White is that the story has previously emphasized the beauty of the title. In the 1937 film, Snow White was gentle, innocent, almost children's in her navel, and her most significant characteristic of the character was her beautiful pale skin (hence the name). Web not only gives Snow White (Rachel Zagler) more agency and activity "She participates in a mainly nominent revolution," but bends backwards to define his name again and what it means to be "the most remote of all of them". In this version of things, Snow White was born during a snowstorm, a situation that her royal parents considered it miraculous. They named her after the snow. She no longer has a burden to be named after her fair skin (which, to remind readers, was the standard of beauty left by the European aristocracy in the early 19th century).

These redefinition allowed the web to throw a charming and talented leading actress who had no pale complexion. Zeger may be the main moment of "Snow White", bringing many fans and charm to a rather thin part.

The web also aims to define the word "fair". When the wicked queen (Gal Gadd) asks her magical mirror (Patrick Paige) who is the farthest in the country, the mirror points out that "fair" can mean "beautiful" but also "righteous". The queen is the most beautiful, but Snow White, which raises the well -intentioned copyright of her kingdom, has a stronger sense of justice. It also celebrates a kingdom based in mutual nessation and labor sharing. Snow White promotes a communist ideal, while the wicked queen carries the wealth of the kingdom and turns its residents of bakeries and farmers into soldiers. It is peace, community and breeding apples versus vanity, greed and violence. These are not revolutionary ideas, but the web at least overlaps something gracefully in fable that was previously for vanity exclusively.

The Snow White plot is more or less the same as the 1937 film. Snow White, Princess, loses her mother to illness, just to see her replaced by a wicked stepmother. The new stepmother immediately turns the kingdom into a violent and draconian place, sending the King (Hedley Fraser) into a dangerous mission of the war from which he did not return. Snow White becomes a servant in the castle, attracting only the queen of the queen when her magical mirror informs her that Snow White is fairer. Snow White escapes the inevitable attempted attempt by the Queen and ends up hiding deep in the woods with septic miners. That way, "Snow White" is gender omitted The remake of Don Siegel's film in 1971 "The Beguiled".

An additional wrinkle on the web is that Snow White Charmant's prince, a new character named Athonatan (Andrew Burnap), is also hiding in the woods with a group of odors and burglars. Like Robin Hood, he causes malice for the queen's soldiers and claims to fight in the name of the king, hoping to bring her communist idyll through a violent revolution.

The web does not rely on Snow White's policy, but it is a kind of refreshing that the film has a political point of view. It stands for equality and speaks against greed. Kindube It is a revolutionary tool. The dialogue is clumsy and waving, and "Snow White" is very often distant from its political spots (mostly with extended scenes of dwarf, but it is more than the remote "Alice in Wonder", "Beauty and Be -Tver", "The Lion King", or "The Little Mermaid".

The seven elves from the film in 1937 are also present here. They should sing prolonged transfer of "Heigh Ho", which still does not match the celebrity of The covered Tom is waiting. This time, however, the seven characters are CGI creations with magical forces; The stones they dug from the mines have undefined magical properties that do not have any bearing on the plot. They have real -life meat textures, but enhanced features of cartoons, making them human and nightmare of turns. Contact (Andrew Bart Feldman) looks very much like Alfred E. Neumann, it can be thought that the magazine "Crazy" can sue. They are not human little people, but mystical gnomes, a change made probably to strengthen any unpleasant abuse of the actors of small people; Peter Dinklage celebrated the remake of Snow White For this reason. Now the miners are no longer human, unlike the very real (and very funny) George Applebi, a small actor who plays a masterful hunter on a crossbow.

The seven mystical miners seem to have not had much personality until they start communicating with the Athonatan and his remnant. They work better as figures in the background, not stars. It is a pity that it is given an emotional story because it is difficult to care for it.

Despite all the above policies, however, "Snow White" is ultimately drama with MID. The gad, like a wicked queen, is trying to shoot her best of her abilities, but her scenes are too managed to become a really tasty evil. She is legitimately bad in the role. Some of the new songs are fun - I was a fondicist of "Princess Problems", an anthon guilty that is sharing with Snow White - but others sink in the background. The design of the production is a drab, relying on the palate of an animated film with ordinary primary colors. Only the wicked queen is allowed to dress in mostly black and purple.

Additional vessels and characters also make Snow White too busy to the end. The scene in which the wicked queen uses dark magic to turn into a crown happens incredibly fast, serves one function, and then is just as quickly exposed. The poisonous apple of the 1937 film became the footnote in the remake. It is a pity because Mark Webb had every opportunity to play with Eden's pictures. It almost felt like the scenes with poison apple was reduced by walking. It's a bad way to feel about the scene that defined the image in 1937.

After all, "Snow White" is better than "Beauty and Astway" and "The Little Mermaid" - with a long shot - but not as good as "Cinderella" of Branag Or Burton's "Dambo". And, unfortunately, it still carries the boring shine of the corporate mandate. This is another cynical company, tapping in certain nostalgic images in the hope of paying for the same high as children. Mark Webb does what can bring about thought and personality in the mix, and Zagler is a definite movie starvet, but at the end of the day, Snow White feels like a small trifle. It didn't make me happy, but at least I wasn't awkward.

/Score of film: 6.5 out of 10

Snow White opens in theaters on March 21, 2025.