SNOW WHITE. New Disney, New Problems? [REVIEW]

The studio was criticized for making overly drastic changes compared to the cult classic original from 1937. The lead actress, Rachel Zegler, quickly found herself in the crosshairs of internet users due to her unpopular comments about the production—on top of which, many couldn’t come to terms with her skin tone, which deviated from Disney’s traditional standards. Reports of a more feminist interpretation of Snow White’s story, where she no longer needs a prince’s kiss to find personal fulfillment, ultimately discouraged a significant portion of the audience from watching a film that wouldn’t fully restore their childhood memories. To summarize this stormy prelude to the film’s distribution—Snow White had already lost credibility in the eyes of the public long before the official promotional campaign even began. Marc Webb’s work had all the makings of Disney’s most polarizing title in recent years, if not decades. But how many of those grim predictions actually defined the remake now hitting theaters? Not as many as expected. While this live-action adaptation of Disney’s first animated feature contributes to the ongoing trend of redundant and, from today’s perspective, largely unnecessary retellings of classic fairy tales, it is by no means an absolute failure for either Rachel Zegler or the rest of the filmmakers—or at least not to the extent many had anticipated.

Let’s start with the core of the story, which, despite initial fears of a radical departure from Disney’s classic animation, actually doesn’t differ much from its predecessor. In the fairy-tale opening sequence, the filmmakers paint a picture of a truly idyllic, vibrant kingdom where the word “subjects” hardly applies, as all citizens—including the royal family—live together in harmony, respect, and without major worries. However, everything changes with the queen’s death, the mysterious disappearance of her husband, and the rise to power of the bitter, hate-filled Evil Queen. Unfortunately, at this early stage of the story, the remake already falters due to its exceptionally bland antagonist, portrayed by Gal Gadot, who lacks any clearly defined motivation. It’s no secret that Gadot’s off-screen conflict with Rachel Zegler had a major impact on the film’s promotional campaign—and this tense dynamic is reflected on-screen, where the two actresses fail to find common ground and exhibit zero chemistry.

The rather formulaic and unengaging introduction is saved, however, by Zegler’s charisma and musical prowess. She has already proven her vocal talents and love for classic Hollywood heroines as Maria in Spielberg’s West Side Story and as Lucy Gray Baird in The Ballad of Songbirds and Snakes. Once again, she impresses with her musical skills—songs by Benj Pasek and Justin Paul, particularly Waiting On A Wish and A Hand Meets A Hand, provide rare moments where viewers can fully immerse themselves in the whimsical fairy-tale setting.

Yet, it’s hard to ignore that Zegler herself seems torn between Snow White’s rebellious nature, introduced in the prologue, and her later actions, which contradict this initial characterization. Perhaps out of fear of an outright boycott, the character is ultimately reduced to a near-copy of the original version, waiting for a rescue—only this time, instead of a prince, her savior is Jonathan, a petty thief played by Andrew Burnap. But in the grand scheme of things, this is the only significant change from the animated film, and even it feels hastily written, simply checking off a familiar storytelling box.

At times, Snow White feels almost like a caricature—especially when it attempts to replicate scenes from the original animation shot for shot. The heroine herself doesn’t seem to know what message she wants to convey to the audience. Is this a story that future generations will grow up with, cherishing this version as much as the original? Does Zegler’s Snow White truly deviate so drastically from her predecessor, leaving us with profound and timely reflections? The answer to both questions seems obvious—Snow White never managed to recover from the onslaught of internet backlash, which ultimately affected the film’s overall quality, from its inconsistent script to its naive, even grotesque, conclusion and unsuccessful CGI experimentation.

A crucial question that should be asked—not just about Webb’s remake but about the flood of similar productions in recent years—is whether live-action adaptations of classic animations (even if some of them, by today’s social and political standards, are considered problematic) bring anything fresh to modern cinema. Do they, as intended, correct past mistakes and expand iconic stories with new, unexpected themes and insights? Or are they simply another example of cashing in on nostalgia, offering little of real value despite lofty promises?

Snow White is yet another example of Disney playing cat and mouse with its audience. Despite its fairy-tale aesthetic and strong performances from Zegler and Gadot, Marc Webb has nothing new to say, reducing the film to yet another soulless, commercially driven product. While it may not be as disastrous as the Lady and the Tramp remake, Snow White serves as a stark reflection of Disney’s ongoing creative crisis—one that doesn’t bode well for upcoming live-action projects like Lilo & Stitch or Moana.

Feminist warrior or a weak imitation of the original? Snow White leaves us utterly conflicted, but worst of all, it fails to offer any meaningful insights for young viewers. Marc Webb’s film is unoriginal and unnecessary, especially when considering the controversies surrounding its production and its final, uninspired form, which ultimately validates many of the internet’s initial concerns. The boycott of Snow White may have been excessive and damaging to the film’s reception, but the filmmakers had every opportunity to prove the critics wrong and deliver a timeless, fully realized adaptation—yet they instead opted for a patchwork of safe, familiar tropes, avoiding risks at all costs.

Snow White makes promises it cannot keep, yet it would be unfair to label it a complete disaster. Both Zegler and Gadot have more promising projects ahead, and for Disney, this film’s reception should serve as a wake-up call. Today’s audiences don’t want to watch the same story again and again, especially in a watered-down and inconsistent version. Let’s hope that Disney’s upcoming titles carve out a bold new path—one that doesn’t leave even the most devoted moviegoers regretting their ticket purchase.