Marc Webb’s live-action Snow White is many things, but “the fairest of them all” is not one of them. A visually expensive yet oddly cheap-looking adaptation, it stumbles through a confused narrative, an uneven tone, and a string of creative decisions that beg the question: Why does this exist?
For a film that barely runs 109 minutes, it somehow manages to feel 30 minutes longer, meandering between moments of promise and stretches of sheer lifelessness. The only person keeping it afloat is Rachel Zegler, who, despite the controversy surrounding her casting, delivers a performance so sincere and vocally powerful that it almost—almost!—makes this whole endeavor worthwhile.
A Familiar Story, Told Poorly
This live-action remake tries to breathe new life into the 1937 animated classic. However, despite its attempts at modernization, the film stumbles through cluttered storytelling, a muddled tone, and an identity crisis it never fully resolves. This version follows Snow White (Zegler), a young woman raised in isolation by her cruel stepmother, the Evil Queen (Gal Gadot).
When Snow White’s beauty threatens the Queen’s status, she orders the Huntsman to take her into the woods and kill her. Of course, he spares her, and Snow White finds refuge among a band of outcasts—though this time, they’re not quite the dwarves we remember. Along the way, she meets a new character, Jonathan (Andrew Burnap), whose inclusion only raises questions about the film’s supposed ‘modern’ update.
Rachel Zegler Deserved Better
If there’s one reason to watch Snow White, it’s Zegler. The backlash surrounding her casting—ranging from complaints about her ethnicity to her political views—was as unnecessary as it was cruel. Ironically, Zegler is the film’s only saving grace, bringing warmth, strength, and sincerity to a script that doesn’t deserve her. Her singing voice soars, particularly in “Waiting on a Wish,” a song that feels tailor-made for awards season. Benj Pasek and Justin Paul’s composition here reaches its full potential, and Zegler’s delivery gives it an emotional heft missing from much of the film.
The chemistry Zegler shares with Burnap in “A Hand Meets A Hand” (co-written with Lizzy McAlpine) is another highlight, making it one of the rare moments where the film achieves something close to magic. Their voices intertwine beautifully, lending weight to a relationship that the script does little to develop. If the film had more of these moments—where talent and music work in tandem—it might have been something special. Instead, Zegler is left carrying a film that refuses to meet her halfway.
A Story That Can’t Pick a Lane
If Snow White were simply bad, it might at least be entertaining in its failure. Instead, it’s frustratingly inconsistent. At times, it seems to strive for the regal grandeur of Kenneth Branagh’s Cinderella—a film that justified its existence by adding depth to its characters. But Snow White ultimately settles for the flat, CGI-heavy spectacle of Bill Condon’s Beauty and the Beast, complete with uninspired staging and half-hearted worldbuilding. Director Marc Webb and screenwriter Erin Cressida Wilson at least attempt to modernize the narrative, but the result is a film that can’t decide what it wants to be.
Adding Jonathan as a love interest is a prime example of this indecision. If the goal was to emphasize Snow White’s independence, why introduce a male lead who feels like a Robin Hood knockoff? His presence contradicts the very message the film tries to push.
Meanwhile, Gadot’s Evil Queen is a spectacular misfire. If Zegler’s performance elevates the film, Gadot’s drags it straight back down. Every time she’s on screen, the film inches toward unintentional comedy. The theater I watched it in was nearly empty, and yet, both of us in attendance couldn’t help but chuckle through her supposedly menacing moments. Her musical numbers are even worse—off-key and devoid of any real presence. If the Queen is meant to be alluring, manipulative, and terrifying, Gadot delivers none of the above.
The Magic is Missing
Much has been said about the film’s handling of the seven dwarves—especially after actor Peter Dinklage criticized the story’s outdated and ‘backward’ portrayal of little people. In response, Disney replaced them with motion-capture CGI creations, and the result is jarring. When placed alongside human actors, the dwarves look out of place. Their designs attempt to retain a sense of whimsy, but instead they land firmly in the uncanny valley. With Disney’s vast resources, it’s baffling that the visual effects aren’t more convincing.
The film’s visuals overall struggle to find consistency. Some scenes, particularly those set in the Queen’s castle, feature impressive production design, only to be undercut by lifeless cinematography. The forest—meant to be a vibrant contrast to the Queen’s domain—feels like a green screen nightmare. It’s hard to believe Snow White is in a world worth saving.
On the other hand, Pasek and Paul’s musical contributions range from serviceable to stellar. Snow White‘s songs don’t come close to the sophistication of La La Land but land somewhere near the pop-driven accessibility of The Greatest Showman. This isn’t necessarily a bad thing, but it’s far from memorable. “A Hand Meets A Hand” is the clear standout, sure. Beyond that, the soundtrack feels more like an obligation than an opportunity to add depth to the film. Even the Queen’s villain song—a moment that should drip with menace and theatricality—falls flat, further diminishing the film’s sense of grandeur.
‘Snow White’ and The Mirror’s Brutal Truth
Ultimately, what makes this remake even more disappointing is how it pales in comparison to the 1937 film. The original Snow White and the Seven Dwarfs was a groundbreaking achievement in both animation and storytelling. This new iteration, however, does little beyond proving that not every animated classic needs a live-action update.
For all its flaws, nevertheless, Snow White‘s biggest crime isn’t Zegler’s casting, despite what internet trolls would have you believe. The backlash against her—claiming she isn’t “white enough” or that she was “miscast”—is rooted in bad-faith arguments that have nothing to do with the actual quality of the film. Blaming her for Snow White‘s failure is as misinformed as it is lazy.
Is Snow White the worst Disney remake? No. But it’s certainly one of the most forgettable. If this film had a magic mirror, it would be wise not to ask it which live-action remake is fairest of them all—because chances are, that mirror wouldn’t even bother to answer.
A self-described cinephile who can’t stop talking—and writing—about films. Paul also moonlights as ghostwriter and editor for a few memoirs. He currently resides in the Philippines.
