Mirror, Mirror lacks charm and originality

By Arthur C. Ryan

Every once in a while I see a movie that leaves me perplexed afterwards as to what kind of review I will write. Such is the case with this past weekend’s release of “Mirror, Mirror,” starring Julia Roberts. A completely harmless film, that I’m sure will entertain most young and old kids alike. But for me, “Mirror, Mirror” was 95 minutes of routine movie making void of any real charm and only a few moments of originality.

“Mirror, Mirror” begins with an appealing computer animated sequence showing a beloved King’s disappearance, as his ruthless wife seizes control of the kingdom and keeps her beautiful 18-year-old stepdaughter, Snow White, hidden away in the palace. But as we all know from previous tellings, when the princess attracts the attention of a charming prince, the jealous Queen forces Snow to a nearby forest. Found by a band of rebellious but kindhearted dwarfs, Snow White becomes a brave young lady determined to save her country from the Queen.

“Mirror, Mirror’s” new twist on the fabled tale of old, is to tell the Snow White story from the perspective of the Evil Queen. And in this live-action version, the evil queen is played by Julia Roberts whose on-again-off-again faux British accent does nothing to disguise the fact that we are watching…Julia Roberts. Roberts does her best delivering dozens of witty asides that often seem misplaced in a kids film.

Snow White is portrayed here by Lily Collins along with Armie Hammer as her charming Prince. The duo first meet after Hammer’s Prince Alcott is robbed by a group of stilt-walking dwarfs who leave him hanging upside down in the forest. White, having run away from the Evil Queen, is often saving her prince from harms way in this post-feminist era’s retelling of the classic fairy tale.

Nathan Lane is on hand as the Queen’s bumbling servant, offering the sarcastic and cynical observations we’ve come to expect from him in these sorts of roles. But by far the most appealing and original aspect of this Snow White go around, are the seven dwarfs. Dopey, Sleepy, Bashful and the rest are nowhere to be seen in this version, but a new band of short stature men are on hand in the form of seven thieves with a soft spot for Snow White’s cooking. The relationship between the young princess and the dwarfs is by far the most compelling aspect to “Mirror, Mirror.” Each dwarf is a well drawn character with a unique take on his own relationship with Snow.

The humor and pathos that surround the dwarfs and Snow are reminiscent of the relationship between Princess Buttercup and the colorful cast of characters in 1987’s “The Princess Bride,” a film “Mirror, Mirror” tries to emulate but fails to in its attempt. What “Princess Bride” had in charm, “Mirror, Mirror” lacks most. And the magic that so envelopes the now classic Rob Reiner film, is nowhere to be found in this all too modern Julia Roberts vehicle. All of the CGI wizardry we’ve come to expect from modern big screen fairy tales coupled with a much too cynical take on the genre, can’t compare with the wholesome charm and brilliantly witty script that made “Princess Bride” the modern classic it’s become.

 I was perfectly willing by the film’s end to accept this take on Snow White as just another harmless Hollywood offering that at best passes the time pleasantly. But then just before the credits began to role, Snow White utters a line so out-of-character and so vindictive for even the most jaded of modern fairy tales, that it left me cold with a feeling of having been cheated.

“Mirror, Mirror” is a product of its time. More cynical and at times even violent, in an attempt to appeal to a generation of movie-goers thought to be too hip to go for an old fashioned fairy tale.

But ironically what the producers of this film failed to achieve is what the character of the Queen’s Mirror warns repeatedly throughout, that there is a cost to using magic, “a dangerous cost.” Well, the producers of “Mirror, Mirror” should have ignored that risky warning and tried to find a little magic to help this all too pat film along.

Mirror Mirror Review

Finally, my own Oscar prize

By David Bjorkgren
Take Two movie critic

I am the proud owner of “Oscar’s Greatest Moments,” a collection of highlights from the Academy Awards ceremonies from 1971 through 1991. This was my prize, presented by my fellow movie critic, Art Ryan, at an Oscar Party, hosted by Art at his apartment, on Academy Awards night Feb. 26.


These parties have been an annual tradition for our small group of film lovers for decades, rivaled only by our traditional New Year’s Eve showing of “The Poseidon Adventure.” (For the uninitiated, the ship turns over on New Year’s Eve.) What we lack in numbers, we make up for in enthusiasm, riotous laughter and the ravenous consumption of Italian beef sandwiches and potato salad. (the latter made from using a special recipe handed down from Art’s mom.) So how enthusiastic are we? Several years ago, one of our friends called while in labor to check in with us about the Oscars. I still remember the call. It came in during the Best Film Editing award.

Anyway, Art is into movies in a big way and has more film knowledge in his little finger than I have in my entire brain, though admittedly that isn’t saying too much. In addition to his work as an actor, Art also worked for years at a video store, so his credentials regarding films and the like are fairly impressive.

Then there’s my friend Chris. He’s not really a Hollywood insider, yet for a couple of years now it seems he’s managed to walk away with the coveted Oscar Party prize. I chalk it down to the fact that he was able to research and actually see several of the nominated films.

That’s why winning the prize this year was a particular honor for me. Because I never win. Yet through some strange quirk of fate, I was able to see seven of the nine nominees. Seven of the nine. The only other time I came that close was in 2006, when I saw four of the five nominees. I still remember sitting alone in a dark theater during a last minute dash to see “Brokeback Mountain,” but that’s another story.

It is, of course, fortunate that many of the films were available for viewing on DVD or some version of Video on Demand. But what put it over for me was a sudden burst of energy to seek out the more obscure art houses. That led me to “The Artist,” definitely a top tier film, and deserved of an Oscar, though I am also nostalgically drawn to “Warhorse,” loved the writing and character play in “The Descendants,” was delighted by “Midnight in Paris” and impressed how much I liked “Moneyball” for things that had nothing to do with baseball. I was less wowed by “The Help” and, like most of you, didn’t understand “Tree of Life,” even as I gazed hypnotically at the imagery. Sadly, “Hugo” and “Extremely Loud…” passed me by before the Oscar deadline.

What I consider a real coupe, though, was an opportunity to see a very limited screening of the nominees for Best Short Film (Animated) and Best Short Film (Live Action). Seeing those films made the decision in those categories on the ballot form much easier. Considering I only won by two categories, I can safely say that it was that extra inside view that moved me to the winner’s circle. By the way, if you should ever happen upon “The Shore” (Live Action) or “The Fantastic Flying Books of Mr. Morris” (Animation), invest the 45 minutes to an hour to see both. It’s worth it.

Truth is, it was actually a terrific year for Academy-caliber movies and a real joy to be able to glide through the treasure trove of nominees. Unlike years past, this time a real contest was afoot.

And so, I’d like to thank the Academy for making movie watching fun again. I’d also like to thank all my friends and fellow movie buffs for their support and for making this award possible. A special thanks to Art for going on this movie adventure with me. May the years ahead be filled with positive reviews and silver screens. I’d also like to thank Donna for hanging in there and…oh, I see they’re playing me off. Anyway, thank you especially to all of my reading and viewing audience. Here’s to Oscar Party 2013.