There?s plenty of spectacle in movies these days; it?s delight that?s in short supply, and Tarsem Singh?s Mirror Mirror offers plenty of it, shimmering like a school of minnows in a reflective pond. The picture is gorgeous to look at: There are fairytale castles topped with minarets of fluted gold, interior marble archways that look as if they might have been carved by Alfonse Mucha, ball gowns that take their inspiration from the rock-star effrontery of peacock feathers. But the story is a delight, too, a modernized -- but not too modernized -- retelling of the Brothers? Grimm Snow White peopled with actors who polish the material to a bright glow rather than a high gloss. Mirror Mirror has a great deal of energy and wit and color, so much that it sometimes threatens to go right over the top. Somehow, though, it always stops short of being just too much -- it?s never too taken by its own reflection.
The picture opens with a beautifully animated prologue that?s a little Brothers Quay, a little Bjork-era Michel Gondry: A king and queen give birth to a daughter, but the queen dies, leaving her grieving spouse to raise the adored child on his own. He remarries, but makes the wrong choice -- and you know the rest. Except Mirror Mirror -- which was written by Melissa Wallack and Jason Keller -- follows its own merry breadcrumb path through the traditional story. With its loose-jointed colloquialisms and gold-tipped touches of romance, the picture is somewhat reminiscent of The Princess Bride, though not nearly as woolly. Lily Collins -- who played Sandra Bullock?s daughter in The Blind Side -- stars as the impossibly lovely Snow White, who has just reached her 18th birthday after a youth of de…
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