Maintaining the fantastical but dropping any semblance of whimsy Snow White and the Huntsman transforms the classic fairy tale into a bleak Lord of the Rings-esque hero's tale full of sword fights monsters and forces of evil bent on wiping out humanity. Instead of creating a unique world or conflict for its revamped characters to explore SWATH plays it safe and sticks to the familiar beats coming off like an amalgamation of every fantasy film that's ever graced the silver screen. Director Rupert Sanders sticks to flashy special effects (some of which are truly stunning) over his greatest asset: the charismatic cast. Kristen Stewart Charlize Theron Chris Hemsworth and eight familiar-faced dwarves try their best to elevate the thin material on display but the film is under a sleeping spell — and no one steps in to wake it up.
Once again an evil queen manipulates her way into the castle and heart of a widower king only to cut his throat and throw his beautiful young daughter Snow into the tower to rot. Years later a magic mirror reveals to the wicked Ravenna (Theron) that the now-of-age Snow White (Stewart) is the answer to her waning magic and wrinkly skin. But as Ravenna's slimy brother Finn comes knocking at Snow's door the imprisoned princess pulls a fast one escaping and opening the door for a large-scale adventure through the forests mountains and swamps of the mystical kingdom.
SWATH's action feel particularly shoehorned in each set piece drifting by without any weight or purpose. After fleeing the tower Snow takes shelter in The Dark Forest (there wasn't a better name? or a name at all?) where she's tracked by the Queen's freelancer The Huntsman (Hemsworth). A few fleeting character moments later the two are on the run together duking it out with otherworldly trolls and joining forces with a group of pint-sized ex-gold miners who believe Snow White is "the one." The epic speak commonplace in fantasy films plagues SWATH — without any details as to how or why the world works the way it does most of the dialogue amounts to characters screaming about "destiny." The lack of specifics filters into the journey too: at one point Snow White stumbles upon a forbidden forest bustling with fairies moss-covered turtles and an antlered creature that's never been seen by humans. The beast is a sign that Snow is savior of their world. Why? Anyone's guess.
The generic quality brings down the talent on screen namely Theron's delightfully wicked Ravenna who goes full on Joan Crawford/Mommie Dearest as she pulls strings to entrap Snow White. Naysayers of Kristen Stewart will have plenty of fuel after SWATH but it's the material that fails to serve the actress in this case. The actors in the film barely get to smile — the drab overcast look of the movie clouding even the performances — but the moments when Stewart's Snow brightens up things suddenly come alive. Hemsworth lightens the mood too showing off a sliver of his comedic prowess from Thor. Between the movie's instance for doom and gloom the patchwork script and Sanders' overuse of up-close-and-personal shakycam there's rarely a moment for the actors to do their thing. It's barely worth mentioning the handful of British character actors who pop up as the Dwarves who hobble around mumbling unintelligible quips. They quickly form a bond with Snow White — or so the movie strong-arms us into believing.
Snow White and the Huntsman is stuffed with imaginative spectacle but the artistry is lost on a hollow story. Crystalline mirror shard warriors the Queen's youth-sucking powers or landscapes that look like live-action Miyazaki animation — it all looks amazing but they're never more than spiffy special effects. The movie wants to be above the visuals teasing a smart tough Snow White but the potential is squandered by never allowing the heroine to stride beyond the conventional world. If Snow White's tale is a shiny red apple then modern tropes of fantasy are the poison.
It’s 1585 and Elizabeth Tudor (Blanchett) is well into her third decade as Queen of England slightly older but just as exquisite—and just as wary of the enemies at her gate. Led by Spain’s Philip II (Jordi Molla) a fundamentalist Catholic movement is sweeping 16th century Europe and they view Elizabeth as a Protestant heretic. Philip and his supporters have rallied round Elizabeth’s exiled Catholic cousin Mary Stuart Queen of Scots (Samantha Morton) waiting for their chance to usurp the Virgin Queen’s throne and restore Catholicism in England. The queen’s trusted advisor Sir Francis Walsingham (Geoffrey Rush) keeps the wolves at bay but Elizabeth is in constant danger. She finds some comfort in the company of her favorite lady-in-waiting Bess (Abbie Cornish) as well as the dashing explorer Sir Walter Raleigh (Clive Owen) whom Elizabeth sees not only as an intellectual and spirited equal but also as a way to glimpse into the unexplored globe’s infinite freedom—something the Queen can never have. But when an assassination plot goes awry Elizabeth shifts her energies back to her country setting off a chain of events that will change the course of history. Just like the Queen Elizabeth herself Blanchett is also slightly older but wiser and even more poised and beautiful than she was playing the Virgin Queen the first time in the 1998 Elizabeth. That film helped put the actress on the map and gave her her first Oscar nomination—and a second nomination for playing the same character shouldn’t be far behind. Blanchett gives this enigmatic queen such flawed humanity. She’s all at once regal sarcastic knowing jealous and loving—and above all a true queen to her people. Although The Golden Age is clearly Blanchett’s movie the supporting cast is also superb especially Rush whose aging Walshingham isn’t nearly as aggressive as he was in Elizabeth but still formidable and Owen as the charismatic Raleigh who clicks in more ways than one with Blanchett. By God Queen Elizabeth needed a real man and if Raleigh had had any royal lineage she may have married him. Instead she has to pawn him off on Bess--played sweetly but blandly by Cornish (A Good Year)--and live vicariously through them until their union gets the better of her and she banishes them. Elizabeth is a woman after all. Morton too does an admirable job as the doomed Queen Mary heaving breasts and stoic resolve to her ultimate demise. As with his original Oscar-winning Elizabeth director Shekhar Kapur clearly loves the splendor and pageantry of the 16th century royal court and serves up another visual treat with The Golden Age. The costumes are once again spectacular as are the sets. The battle between the British navy and the Spanish Armada is particularly stunning especially as a victorious Elizabeth stands on a high bluff wind blowing looking into the horizon at a sea of burning Spanish ships. Highly effective. Kapur isn’t very subtle in his depiction of the bad guys either. King Philip is almost Golum-like walking in a weird way mumbling and constantly rubbing his rosary beads. At any moment you expect him to hiss “My precioussssssss.” Creepy. But where Kapur’s Golden Age fails is in its pacing. While the first Elizabeth was intriguing in the making of a queen Golden Age plods through Elizabeth’s anxieties and insecurities even if Cate Blanchett is riveting in almost every frame. Things only really get going when Elizabeth forgets about being a lonely woman and gets her head in the war game. There’s also the fact that the masses may have had their fill of historical movies about this time period—from HBO’s excellent Elizabeth I (which is in essence the same story) to even Showtime’s The Tudors. Chalk this Golden Age up to bad timing.