Mirror Mirror (2012)
Tarsem Singh makes a Snow White film. Tarsem’s sets, costumes and visuals are expectedly exquisite and extravagant but all is unwound by a campy, unserious approach
The Science Fiction Horror and Fantasy Film Review
In its simplest usage, a fairytale is a story for children. Most modern fairytales originated from the interpretations by The Brothers Grimm, Hans Christian Andersen and others like Charles Perrault, although all of these draw from earlier folk tales that have origins in oral tradition. It should also be noted that many of these, especially the Grimm Brothers originals, often have darker elements that are usually sanitised by modern child-friendly tellings.
Few fairytales actually feature Fairies. Most fairytales concern adolescents or innocents – children, orphans, princesses, while antagonists are figures like evil stepmothers or wicked witches. The story frequently requires a journey – often through The Woods – and the innocent undergoing peril to find rescue (often from a prince) and arrive at a place where they receive the gift of true love whereupon comes the refrain “… and they lived happily ever after.” The fantastic enters in the form of magic, talking animals and witches.
There have been a great many fairytale adaptations since the early days of cinema. For a time, Disney produced a series of classic animated versions and there have been a great many other works produced both animated and live-action, all drawing from classic and familiar tales. A number of these are musical and/or ballet interpretations.
There is also body of deconstructed fairytales where the elements of familiar stories are put to very different usages. The most common of these is seeing the fairytale updated into modern surroundings often with comical or less-than-innocent results, or of stories where Little Red Riding Hood encounters werewolves or Hansel and Gretel’s witch is a cannibal. Other versions posit the idea that characters from classic fairytales inhabit shared worlds.
Tarsem Singh makes a Snow White film. Tarsem’s sets, costumes and visuals are expectedly exquisite and extravagant but all is unwound by a campy, unserious approach
The second of 2012’s Snow White films after Mirror Mirror, this turns the fairytale into an epic fantasy. Well produced but ultimately a film that lacks anything unique nor pushes far enough into the dark fantasy it promises to be
A low-budget film that prefigures the big-budget Hansel and Gretel: Witch Hunters in turning the fairytale brother and sister into witchslayers in a generic fantasy adventure plot
Another entry among 2012’s spate of Snow White films following Mirror Mirror and Snow White and the Huntsman. this was a low-budget mockbuster copycat from The Asylum
Disney animated film that supposedly adapts Hans Christian Andersen’s The Snow Queen, although Andersen wouldn’t recognise it. This often feels like a ramshackle assemblage of formula elements rather than the classic it was hailed as
Another of The Asylum’s mockbusters intended to capitalise on the release of Jack the Giant Slayer. Despite setting out to adapt Jack and the Beanstalk, there are no giants in the film
Bryan Singer was once the hope of fanboy cinema but this attempt to turn Jack and the Beanstalk into an epic fantasy feels exactly like formula studio product that could have been made by any hired director
Amid the early 2010s fad for adult fairytale reinterpretations, this has an anachronistic absurdity that invites you not to take it seriously. A series of action movie poses, CGI and splatter effects are transplanted into the fairytale.
No relation to the disastrous Chevy Chase film, a French romantic comedy that has modernised retellings of various fairytales wound into the plot, often being deflated or turned on their head
This Canadian film is a modernised telling of Hansel and Gretel where the witch becomes a man with possibly paedophile intent. A film seems to want to go into dark places but gives them an utterly tepid treatment
The premise of a group of adventurers seeking artifacts from fairytales has mild possibilities but is given zero conviction by anybody involved. A sub-Indiana Jones adventure that was made as a tv pilot
Studio Ghibli adaptation of a classic Japanese folktale from Hayao Hiyazaki’s mentor Isao Takahata. This is a slower, very different film than Hayao Miyazaki’s, the animation designed like a traditional Japanese woodprint. Never quite soars like Miyazaki’s films do but not without its charms
Amid the 2010s spate of fairytales rewritten as dark adult fantasies, this was a quite good mockbuster copy from The Asylum. From the director of Sharknado, this is Hansel and Gretel by way of The Texas Chain Saw Massacre
German animated film about the adventures of Snow White’s Seven Dwarves. Lightweight and trivial, this feels like it has come along ten years too late to the fad for fairytale parodies and mash-ups we had in the mid-2000s with films like Shrek and Hoodwinked!
Another in the early 2010s fad for fairytales rewritten as dark adult fantasy films – in this case, a version of Disney’s Sleeping Beauty told from the viewpoint of the witch
In the early 2010s, we had a series of fairytales rewritten as dark adult fantasies; The Asylum served up their own cheap copies – this was their version of Maleficent. Directed by actor Casper Van Dien, this not uninterestingly plays out as a fantasy adventure that follows the prince’s attempts to enter the castle
Adaptation of the fairytale that takes place in an exquisitely dreamy sumptuousness – a stunningly designed, costumed and photographed world that has a genuine magic. However, the motion-capture animated Beast looks far too much like a CGI effect
A lumbering, stagebound adaptation of Stephen Sondheim musical that lamely dips into the fairytale parody that Shrek and other films tapped far more engagingly over a decade ago
A trio of tales from the world’s oldest fairytale collection – but quite different to anything you expect … While there is all the magic, ogres and princesses, this is a beautifully lush film made for adults and less about simple homilies that about fate and its cruel twists
Live-action remake of the Disney animated film. This varies little from the well-worn elements of the story to the point of over-familiarity but director Kenneth Branagh manages a lush and beautifully staged effort
There is potential to the premise here – a dark horror riff of sorts on The Little Mermaid in a 1930s Depression era setting – but it is squandered by an unimaginative script and direction
The Asylum’s response to Avengers: Age of Ultron. Not having their own superheroes, they have ingeniously created an adventure involving various fairytale princesses – a great idea that befalls miserable execution
A Korean retelling of the fairytale The Pied Piper of Hamelin that in mid-film suddenly morphs from a standard telling into an incredibly grim horror film. The results are really quite striking, not to mention pulled off with considerable assurance
Sequel to The Asylum’s spendidly grotesque Hansel & Gretel, this pits the two characters against one another for contrived reasons to justify its title but is just cheaply made
The Asylum made Avengers Grimm as a copycat of The Avengers films, featuring a team-up of fairytale heroines, and so for the release of Suicide Squad they made this sequel featuring a team-up of fairytale villains. Both films are utterly incomprehensible and require you to essentially ignore the originals
This had me watched on the basis of the title alone. An Asylum production, this is less a twisted take on the fairytale than one that turns Little Red Riding Hood into a werewolf hunter
A modernisation of Hans Christian Andersen’s fairytale cast as a hipster romance where the mermaid becomes a stripper, all shot with the gauzy soft focus of a feminine hygiene products commercial
Sequel to Snow White and the Huntsman. Despite low expectations, this emerged better than one thought it would. It has a better director and seems much more at home being an epic fantasy than the first film
This offers the promising idea of Sleeping Beauty reworked as a horror film (and set in the modern day). Never as interesting as it sounds in synopsis, this becomes more a Sleeping Beauty-themed haunted house ride
A softcore erotic version of the popular fairytale. Largely the film gets the fairytale over and done with in the first eight minutes and thereafter focuses on the erotic tumblings of Beauty awakened in the present-day
This live-action remake of the Disney animated film is mounted with a lavishness. On the other hand, the romance at the centre never fully warms up, while the human characters have the show stolen from under by the cutlery and furnishings
From the producers of the ABCs of Death films, a further horror anthology where nine directors from around the world deliver eight episodes based on the folklore of their region
Released at the same time as Avengers: Infinity War, this was a mockbuster from The Asylum involving a team-up between fairytale characters. The third in their Avengers Grimm series
Big, no-expense-spared Disney production of the fairytale. The film is stunning to look at it in terms of design and costuming but has a simplicity that leaves little for adults to engage with
Frozen was the most successful animated film of all time. It also felt the most formulaic and least inspired Disney film of the 2000s. As part of Disney’s new business policy of recycling everything, this is a sequel.
Nobody much liked Maleficent but did make a reasonable amount of money, hence a sequel. The surprise is that in the hands of Norwegian director Joachim Rønning, it is far better than one expected
Osgood Perkins emerges as a top director in this dark and extremely adult interpretation of the fairytale. There is nothing about this that can be viewed as a children’s tale any longer
From the people who made Winnie-the-Pooh: Blood and Honey, a film where the nursery rhyme of Jack and Jill somehow morphs into a variant on The Hills Have Eyes
A beautiful anime from Momoru Hosoda that retells Beauty and the Beast and spins it in SF terms as tale about a girl who finds fame as a singer in Virtual Reality
A low-budget film directed by lead actress Michele Martin that sets out to conduct a modernised retelling of Little Red Riding Hood in which she becomes a wolf
Enchanted in which Amy Adams played an animated fairytale princess entering the real world was a reasonable hit. This is the long-planned sequel that reunites the principals but feels like a joke that belabours in the retelling
One of the last films made by Julian Sands before his death, this concerns a cursed musical score that ties back to the Pied Piper of Hamelin. Sands plays an autocratic orchestra conductor
A very strange Japanese-made blend of fairytale and detective story that takes place in the realm of fairytale where Little Red Riding Hood turns detective to solve a murder at Cinderella’s ball
Another in the spate of horror versions of children’s stories, this is essentially The Strangers played out with people terrorised by a group dressed as Goldilocks and the Three Bears
A horror version of Cinderella where she gets to stab people with the glass slipper. This also features several modernisms where instead of a pumpkin coach, the fairy godmother conjures up Elon Musk to drive Cinderella to the ball in a Tesla
From the people behind the Winnie-the-Pooh: Blood and Honey films, a horror version of Cinderella. And yes, the glass slipper is used to stab people
The live-action remake of Disney’s Snow White comes surrounded by controversy on every side and served to make it a critical and box-office flop that left doubt over the future of the Disney remake industry
An adult and frequently horrific retelling of the Cinderella story from the Ugly Stepsister’s point-of-view