Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
Laure Ash (Rebecca Romijn-Stamos) is a very bad American girl who does very bad things. She steals diamonds from an actress at the Cannes Film Festival cheats her partners in crime wears a lot of very suggestive underwear and has lots and lots of manipulative sex with women and with men. Set mainly in Belleville France and spanning seven years--twice--Femme Fatale asks whether or not leopards can change their spots and if they can what does it take? Meeting a nice girl who just lost her husband and child--and who happens to look just like you--sure can help although if you choose to steal her passport and identity after you watch her blow her brains out odds are your leopard-skin lingerie is there to stay. Of course all any proper bad girl really needs to turn her black heart to gold is the love of a good man so when Nicholas Bardo (Antonio Banderas) ex-paparazzo enters the picture we know it's only a matter of time before Laure comes to her senses.
Stamos (Rollerball) is a bad bad girl in Femme Fatale and she's got a bit of a reputation as a bad bad actress in real life which is largely the reason for the poor pre-release press this film has received much to director Brian De Palma's (Mission to Mars) chagrin. But believe it or not she's not completely horrible in the film which required her to speak French (she did passably well) strip to her skivvies (she did remarkably well--more than once) and play multiple characters. The scenes between Stamos and the slickly charming brooding Banderas (Original Sin) are the highlights of the film but sometimes Banderas is so campy that it throws the whole thing off kilter. Why in the heck is Banderas prancing around and lisping pretending to be gay and eliciting chuckles and sometimes even outright laughter from the audience? I mean he's funny and he makes the scene funny and hey I laughed. But this is supposed to be noir. You're not supposed to laugh.
Banderas' schizophrenic performance is merely a symptom of Femme Fatale's fatal flaw: it's a derivative film that just can't decide what it wants to be. It tries to be a sexy tale of the twisted woman à la Basic Instinct but Stamos just doesn't have enough mystique about her to pull that off (shedding her clothes at every possible moment doesn't help). It strives to be an edge-of-your-seat thriller but unlike The Sixth Sense a film whose surprise ending left audiences wanting to see the movie again to check for clues the revelation at the end of Femme Fatale leaves you feeling like an idiot because you should have seen it coming. After the twist the film tells the same story a second time with the heroine making a different choice and thereby changing the life we thought she had lived (Sliding Doors anyone?). It's interesting to analyze Femme Fatale as a pastiche of modern filmmaking but taken as a whole the movie's got a lot less going for it than any of the films it tries to emulate.