MIRROR, MIRROR

MIRROR, MIRROR
Written by Melissa Wallack and Jason Keller
Directed by Tarsem Singh
Starring Julia Roberts, Lily Collins and Armie Hammer

The Queen: Snow must do what snow does best - fall.

The story of “Snow White” is one of the most beloved of all time. The Brothers Grimm fairy tale, in which a beautiful, young princess becomes the focus of envy of an evil Queen, and is cast out of her kingdom, has not only endured for centuries, but has also heavily influenced the princess archetype we have come to adopt, for better or for worse. It is an imaginative story that includes mining dwarfs, magic mirrors and a kiss so powerful it can break any spell. It is exemplary of what is considered classic and  Snow’s story is now ready to reach a new generation in MIRROR, MIRROR, a modern mess, I mean, interpretation, that seems determined to ensure future generations want nothing to do with this timeless tale.

Under the supposedly unique directorial vision of Tarsem Singh (IMMORTALS), MIRROR, MIRROR is a grand and elaborate affair. A castle sits upon a mountain ledge and is filled with thrones made of giant shells, unicorn shaped moldings and people as chess pieces, with majestic ships upon their heads instead of hats. The costume work is incredible (executed by the late Singh regular, Eiko Ishioka) and, like of all Singh’s work, the overall visual picture is certainly striking. Unfortunately, the visual style is not the only thing MIRROR, MIRROR shares in common with Singh’s past work. Singh has become, like Tim Burton, a go to director for outlandish visuals and, while his pictures are mostly dazzling, if not derivative of each other, he rarely spends any time on story and character development. It doesn’t matter how pretty the whole thing is when what’s happening isn’t at all compelling. Also, I don’t consider dwarfs on stilts to be original, just ridiculous

MIRROR, MIRROR spends more time with the woman looking into the mirror, instead of the woman the mirror speaks of. With Julia Roberts playing The Queen, it isn’t at all surprising that the story revolves more around her antics than that of the original title character, played by fresh face, Lily Collins. Roberts certainly does seem to be enjoying herself a great deal, and despite her faux British accent dropping in and out at all times, it can be fairly entertaining to watch her be bad for a change. That said, I’m not sure Roberts playing a demanding Queen is that much of a stretch for her. Still, the cast itself make MIRROR, MIRROR a passable experience, one that will likely appeal more to children than their adult accompaniment. Passable is a far cry from timeless though.

PS. Parents, just do me one favour, please; if you do bring your kids to see this, please make sure they see Walt Disney’s SNOW WHITE AND THE SEVEN DWARFS at some point. They should know what the story is actually supposed to be like.


For more on MIRROR, MIRROR, check out my Hour Community piece about the production itself.

J. EDGAR

Written by Dustin Lance Black

Directed by Clint Eastwood

Starring Leonard Dicaprio, Armie Hammer, Naomi Watts and Judi Dench

Annie Hoover: Edgar, I would rather have a dead son than a daffodil for a son.

Considering Clint Eastwood has lived to witness most of what he chooses to depict in his J. Edgar Hoover biography, simply titled J. EDGAR, it is an awful shame that so much of it feels lifeless and false. Eastwood’s Hoover accomplishes great things, like taking fingerprint technology nationwide and forensic science to new heights, but he does so with very little fanfare, subsequently inspiring even less interest in his audience. Fortunately, incredible performances by Leonardo Dicaprio and Armie Hammer, as the notorious FBI director and his rumoured romantic partner of many years, Clyde Tolson, elevate the picture high enough to overshadow the drab, washed out stiffness of Eastwood’s former America. Dustin Lance Black’s script is smart not to focus solely on Hoover’s sexuality, but unfortunately, the film only truly comes alive when it does.