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.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.