Snow White & The Huntsman: Pretty, Kinda Fun, Somewhat Interesting…Um, Did I Mention Pretty??

Novice director Rupert Sanders creates in Snow White & The Huntsman what can only be described as the cinematic equivalent of the air-head supermodel: visually stunning and inexplicably exhilarating with not much more than runs skin deep. Ultimately, while the film has many interesting moments and overall provides for a fun romp through fantasy, there is something missing that holds it back from being the epic it truly sets out to be.

Premise: Based on the familiar fairy tale, the Huntsman is ordered to capture the runaway Snow White so that she can be killed by the Evil Queen, only to wind up becoming her protector. Result: A fun and visually impressive film that entertains but never shakes the sense that there should have been more.

Considering the mesmerizing visual effects employed in Snow White, it may be easy to forget that at its core this is a fairy tale.  But like so many comparable revisionist films today, Snow White manages to be far darker than most audiences are used to (although ironically much closer to the original intensions of the Brothers Grimm, authors known for their dark and often terrifying fairy tales.)

The film begins with narration, as the history of the horror is explained.  Here, The King is lured into battle with a shadow army, unwittingly walking into a trap set by the beautiful witch Ravenna (Charlize Theron). Hypnotized by her beauty, the widower King takes Ravenna as his wife, only to be murdered on their very wedding night. Ravenna then takes the kingdom and locks the Princess Snow White (Kristen Stewart) away in the tower to rot.

The story is told through some haunting narration accompanied by special effects that should by no means be overlooked.  Each scene is mesmerizing, the colors and magic so painstakingly detailed as to keep audiences in a permanent state of wonder.  This not only helps to make the film more engaging by enhancing the darkness and spectacle on screen, but also helps to distract from rather dismal plot progression.

As the film catapults to present day, Snow White (now somehow beautiful and fit despite being locked in a cell for a decade – although her cheeks are very dirty) manages to escape from her tower McGuyver-like with only the aid of a rusty nail, a horny hapless villain, and the superhuman ability to slide through tunnels like a seal (I don’t mean the Navy kind).

Ravenna is outraged and employs her Brother Finn (Sam Spruell) with the help of a surly Huntsman (Chris Hemsworth) to find Snow White who is now somewhere in the Dark Forest, a place of many dangers and terrors. Little do these black hunters know, however, that William (Sam Claflin), the Duke’s son and prime Ravenna rival, has infiltrated their ranks to save the Princess.

While all the chasing through the Forest is taking place, we are also introduced to Revanna and her motives.  Sanders allows a rather clever juxtaposition to give audiences the only real depth in the film, that of the true emotions behind Ravenna and her evil. Through the use of a mirror (in one of the cooler visuals in the film) she understands that her beauty and powers are declining due to the rise of Snow White, the only woman pure enough to destroy her; however, should Ravenna consume her heart, she will live forever.

At the same time, Ravenna’s obsession with beauty and power (she has lived over twenty lifetimes) is explained rather well through a few poignant flashbacks involving her mother and the witchcraft which has brought her to present day. There is a visual elegance with which Sanders displays these two stories that will keep audiences invested.

However, the other plotlines depend much more on special effects and clichés; Snow White is apparently the bringer of Life and all creatures love her including a bunch of meandering Dwarf warriors (played by several noteworthy, normal-sized actors); The Huntsman begins falling for her despite loudly harboring a very banal love for his wife who has died; William just wanders around pining for her morosely despite never really doing much about it. All the while Ravenna wanders around her room sucking the youth out of random pretty girls.

The acting in the film rests on passable: Theron is strong as the queen, although there is much more to her power when she isn’t speaking than when she is forced to deliver lines through Emphysema-plagued lungs.  Stewart is typical Stewart, filling scenes with fluttered glances and heavy breathing.  It should also be noted that there is an eerie Bugs-Bunny quality to her smile in this film that forces observers to wonder if Ravenna had better have been played by Elmer Fudd.

Hemsworth is strong once again as Thor…uh, em, The Huntsman, although now equipped with a Scottish accent and in one scene in particular (when speaking of his lost love) enough scenery to chew until the end of time. Claflin is good but ultimately the role hinders him, relegating him to forgotten character. The Dwarves, played by several noteworthy thespians (including Ian McShane, Bob Hoskins, Eddie Marsan, and Toby Jones), are wonderful, funny, interesting, steal-stealing characters that will keep audiences firmly in hand as they race to the finish line.

Ultimately, while the story remains intact, there is a very real hole in the film’s appeal.  There is far too much reliance on the special effects and the story suffers, smothered beneath a notable lack of emotional connection.

Now, there are a few interesting battle scenes accompanied by some fascinating takes on  magic that is enough to make the film entertaining throughout; fortunately, this does allow Snow White to be an exciting film and Sanders does enough to keep audiences at least somewhat interested in what will happen next. However, like a cinematic drunk bender, audiences will have fun, but won’t care much about the characters, story or the special effects hangover afterwards.  But at least we’ll always have the Dwarves.

Rating 7- A refreshing Champagne that a cute bartender comp’d you!