Director:
Rupert SandersCámara:
Greig FraserMúsica:
James Newton HowardReparto:
Kristen Stewart, Charlize Theron, Chris Hemsworth, Sam Claflin, Ian McShane, Bob Hoskins, Ray Winstone, Nick Frost, Sam Spruell, Toby Jones, Eddie Marsan (más)Streaming (3)
Sinopsis(1)
En un giro del clásico cuento de hadas, el cazador (Hemsworth) a quien se le ordena asesinar a Blancanieves (Stewart) en el bosque incumple su misión para convertirse en el protector y mentor de la joven dama, en un periplo para derrotar a la Reina Malvada (Theron). (Universal Pictures España)
Reseñas (12)
Great fragments, but a dramatic structure very blown away (hi ho, hi ho, we come to XY, we enjoy ourselves and then they attack us), no explicitly breathtaking moment, very solid craftsmanship, but affected by the effort to sell everything to all available senses at once. For me, it lacks a bit of finesse and stronger mythology, which would combine all the much dispersed influences - for example, when the dwarves sing an "Irish folk song" and Snow White prays to God, I do not know where I actually was. Some mandatory "mighty bloody battle" phrases strongly reside here (I would cut off hands for Snow White's monologue before the final battle). On the other hand, from an acting point of view, it is absolutely excellent, and if there is something that really excites beyond sensory intoxication, then it’s the well-chosen representatives of key roles (perhaps only Kristen gets a big life lesson from the predatory milf Charlize). Sanders certainly has a knack for playing with the viewer - I'm quite curious how his broadly targeted fantasy product will fare. Overall, I fluctuate between amused distance and enthusiasm - especially where this dirty girl dares to be really dirty and more daring than the polished genre competition. Unfortunately, the enthusiasm did not come despite a few good flashes. P.S. When The Witcher is filmed in Hollywood, Chris Hemsworth should be given the role of Geralt. The guy has style...
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La película se mantiene unida gracias a Charlize Theron y Kristen Stewart, quienes no solo son bonitas e interpretan bien, sino que, sobre todo, fueron muy bien elegidas para sus papeles. Lo mismo se puede decir de los demás actores, desde el villano interpretado por Sam Spruell, hasta la pandilla de enanos, en la que reconocemos a Ray Winston solo por su voz. Chris Hemsworth como el Cazador tiene sorprendentemente poco espacio para estar en el título de la película, y su relación con Blancanieves no funciona muy bien (teniendo en cuenta el hecho de estar en el título de la película). Además, sorprende la ausencia del humor en cuanto a los enanos. La película es excelente en el primer tercio, donde reina la singularmente malvada y fría Charlize (mucho mejor que la puta fría de Eva Green de Sombras tenebrosas). En general, no es plana, tiene impulso, sabe cautivar y abunda en la magia de fantasía y la oscuridad. Las excelentes imágenes y la banda sonora de Howard no sorprenden, eran de esperar. Es probablemente inevitable no usar ideas de El Señor de los Anillos, pero las insinuaciones de La historia interminable son agradables y sugieren que el guión de su nueva versión de Hollywood ya están tomando forma en la mesa de alguien en la ciudad de los ángeles. El metraje es muy largo, la segunda mitad de la película debía sería más corta y más dinámica. Pero como conjunto, sigue siendo mejor que la infantil Narnia o La Brújula Dorada de plástico.
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(Though I think there isn’t much room for SPOILERS in this case, you should rather see the film before reading this review.) Neither a fairy nor a dragon. This modern rendering of the archetypal story epically spans the territory of Game of Thrones (the would-be harsh rural setting, the incestuous relationship between siblings), The Lord of the Rings (numerous “wandering” money shots), Disney movies (the fairy forest), Besson’s Joan of Arc (including an inappropriate spiritual dimension), and video-game fantasy (spectacular, bloodless vanquishing of enemies, and partly Snow White’s resuscitation, which is of course present in all versions). Other than the somewhat incomprehensible feminist subtext, the film’s modernity does not lie in reinterpreting a familiar story or putting it in a different context. Rather, the screenwriters merely stretched a simple story into a feature-length epic film, so there’s nothing left for us to do but successively tick off familiar situations. Our immediate recognition of the source material and firm knowledge of how everything will turn out in the end naturally draws our attention away from the content to the various treats for the eye (most of the scenes with the queen) and the ear (the dwarves imported from England). Unfortunately, the fairy-tale black-and-white distribution of power is not in any way relativised and if you want to cheer on Charlize Theron’s emancipatory struggle against the patriarchal order instead of the anaemic princess, the film will do nothing at all to support you in this. ___ The queen’s paranoid defence of her hard-won position, accompanied by her need to be the fairest of them all, could have been used beautifully to express a timeless commentary on gender inequality, to which the traditional (and the film’s chosen) ending conversely contributes. It’s worth noting that whereas the docile Snow White comes to understand “her” position without authoritative guidance, but surrounded by macho men, the more aggressive queen was, judging from the fleeting hints of her disdain for the male sex, guided by the upbringing she had from her mother and obediently accompanied only by her effeminate brother. Snow White’s climactic act of defiance follows a series of hardships culminating in her clinical death, when she is wearing asexual armour serving to deflect both arrows and the male gaze (thus creating the opposing figures of Snow White as being “butch” and the Queen as "femme", thus further confusing the already uncertain sexual orientation of the characters). Snow White paradoxically gains her exclusive position among men by becoming one herself in terms of her appearance (the exact opposite of the queen’s constant self-beautification). However, it’s possible that today’s girls (not necessarily just Twilight fan) are looking for this type of heroine, who must “suffer” in order to gain the victory that she believes she deserves due to her princess-like nature. The men faithfully follow Snow White only after her suffering reaches its peak (though anyone who has seen Martyrs might object to her lovely collapse to the ground). Unlike in melodramas, the topos of the suffering heroine here does not primarily elicit “unproductive” emotions, but rather conditions the active struggle. Paradoxically, it is the struggle for an abandoned home, where the possibilities for women’s emancipation are limited on principle. The film leaves answered the question of the extent to which Snow White’s rule will be dependent on men. There are multiple ways to interpret the symptoms of this new film version of Snow White, but I’m afraid there will be few that clearly favour women. ___ Snow White and the Huntsman is an outwardly appealing film, but with every layer that gets peeled back, it becomes less and less convincing in what it wants to tell us. 65%
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At the beginning I was surprised at how much I was enjoying it (I wasn’t expecting anything from it), but as the minutes went by, the enthusiasm waned and I ended at around 4/10. Nice visuals and a demonic Charlize aren’t enough to carry 127 minutes with a stupid script, a wooden Snow White and an unremarkable prince.
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I was looking forward to Snow White and the Huntsman. I am always looking forward to a fantasy. And it’s even more pleasant when I see it’s the director’s first proper movie. Hats off for the imagination of the Snow White’s world. I really liked that. Even though it was narrated well, the story was a routine one. In fact, the whole movie is really obvious and if you know the original story and can imagine it in the form of a narrative fantasy story like Lord of the Rings, the result will look like this movie. Kirsten Stewart could finally stop staring open-mouthed at everyone around her, but that was about the only flaw I could find with the actors. They performed their best and that is a good thing. Next time it would be better with less digital effects. The two castles could definitely have been made less monumental and more real to give the fantasy movie the realistic feel it deserves. At least in that respect.
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A mirror with no taste (Kristen more beautiful than Charlize; how could the screenwriters think that somebody would believe such nonsense?), visually well done, solid tempo, a lot of action, wasted dwarfs (such a cast and then they just get one proper scene), a couple of necrophilic kisses, one lesbian kiss and no kiss out of true love… And that is maybe the biggest (and not by far the only) mistake; you can feel the lack of feeling here and that was, is and always will be an crucial problem in a fairytale. Despite all its likability, it’s simply cold and that’s a shame, because otherwise for this Snow White – a successor of the fantasy genre so popular and wide-spread mainly in the 80’s, I would have had only words of praise.
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Exactly on the boundary between a dark fairy tale and cautious fantasy, but personally I was hoping for something a bit more elevated. The situation occasionally has to be explicitly saved by the beautiful Kristen Stewart and the warrior Chris Hemsworth, for whom the roles of unruly and vulnerable heroes will be a career destiny. James Newton Howard (and Florence+The Machine) fantastically reign in the soundtrack, fantastic creatures appear cautiously in regular doses, and passages like walks through the enchanted fairy forest can take your breath away for long minutes before anything happens, so what's the problem? For me, it's clearly with the queen. I simply didn't find Charlize Theron her evil queen convincing with her performance and portrayal of the character throughout the entire two hours, whether she was bathing in milk or menacingly threatening whomever she wanted, I was just nervously fidgeting and waiting for any kind of change. Rupert Sanders makes appealing alterations to notoriously well-known plot moments (though he doesn't fully execute that crucial and most anticipated change until the end), but in the very end, the overall impression remains too half-hearted.
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The awesomely beautiful Charlize and her initial intro get you almost immediately. And they don’t leave you for the entire movie. Sanders has a firm director’s hand, superb visuals (beautiful when required, dirty if needed) and everything ticks over nicely. The production design looks appropriately high-flown and has the requisite Lord of the Rings gilding. Kristen is great, but it seemed to me that he spoke too little for the main protagonist and draws very little attention to himself. Chris Hemsworth rocks again in the role of an inebriated hunter with a troubled past, and the meticulously cast dwarves were welcome and added a pile of laughs. Howard’s music is a pleasure to listen to. This is more or less what I had imagined it was going to be. Hail the Queen!
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A spectacular thing and surprisingly quite entertaining. Visually it is very attractive and captivating. Kristen Stewart has finally escaped her role in Twilight and showcases a confident performance. The plot is solidly tangled, the pacing is just right, and you don’t have much room to get bored. It may not become a classic, nor is it a timeless thing, but a sequel would certainly not be a bad idea, and I was surprised by the precision with which they tackled it from a formal perspective. Visually more daring than, for example, the latest Jackson's Hobbit.
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Three and a half stars. The following things in particular are unfortunate: That Kristen Stewart is not even prettier, let alone more beautiful than Charlize Theron (but that's my subjective feeling, I know), that she has one expression throughout the film, and that the speech before the battle, already a ridiculous enough moment, is even more ridiculous given her performance. That the absolutely brilliantly cast dwarves (Ian McShane in particular!) only actually flicker through the film. That the writers screwed the prince into the plot so violently, when they could have left him out. That the "rip-offs" of The Lord of the Rings are so obvious. That some things are not understandable (or more understandable) - for example, waking up with a kiss (really, it's weird). And that's about all I could fault Snow White and the Huntsman for. Otherwise, it's a typical fantasy with impeccably atmospheric scenes in the dark and fairy forest, an excellent queen, an overly sympathetic Chris Hemsworth and a great Newton-Howard soundtrack.
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Definitely a better approach to the story than the competing Mirror Mirror starring Julia Roberts. What impressed me the most was the captivating and spectacular visuals: the cinematography, to the nicely done visual effects, the impressive production design and the costumes of the queen. Kristen Stewart didn't strike me as annoying as she did in Twilight, and Charlize Theron is truly and eerily gorgeous. Chris Hemsworth's hilarious early quips, Sam Spruell's villainous appearance, and the seven dwarves bolstered my overall opinion of the film. In short, a film that may never become a classic among book adaptations, but certainly won't fall into obscurity thanks to its flashy look and cast.
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The environment Rupert Sanders has created here is captivating and very appealing. Add to that the truly perfect casting (Charlize is still beautiful and in terms of her character actually plays a total bitch :))), Kristen matures like wine from one film to the next, and Chris is gradually growing into a star of considerable stature), and the result is actually a pretty above average affair. One could of course draw comparisons and say that Snow White and the Huntsman is in better taste than Narnia or The Golden Compass (however, my beloved Stardust remains unsurpassed), and ultimately that is indeed the case :))), but for me the important thing was that it all somehow held together and maintained a fairly high standard despite its fairy tale subject matter. 3.5 stars
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