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.
Based on books by Besson (yes he writes books too) we meet Arthur (Freddie Highmore) a 10-year-old kid living on his grandparents’ farm. But there’s trouble: Arthur’s grandfather has mysteriously disappeared and now a real estate developer wants the land Arthur’s grandma (Mia Farrow) doesn’t have enough money to keep. Maybe the solution lies in his grandpa's treasure which is hidden somewhere on the "other side" in the land of the Minimoys. Who are the Minimoys you ask? Why they are creatures that live in Arthur’s backyard just a tenth of an inch tall--that’s who. The only hope is for Arthur to enter into this miniature world become a little pointy-earred wild-haired Minimoy find the treasure in the forbidden city and save the day. For this adventurous boy that’s no problem. Arthur and the Invisibles doesn’t lack star power that’s for sure. Along with sweet-faced high-spirited Highmore (taking a step down from Finding Neverland and Charlie and the Chocolate Factory in my opinion) and Farrow (who looks a little Minimoy-ish herself) we have the voices of: Madonna as the plucky Minimoy warrior princess; Jimmy Fallon as her younger klutzy brother; Robert De Niro as their father the king; Harvey Keitel as a kindly wizard; Snoop Dogg as a weird-looking miniature denizen who runs a dance club; and David Bowie as the evil ruler of the forbidden city. That’s some eclectic lineup--too bad they couldn’t all click. Poor Madonna--even her animated voice-over efforts can’t make the grade. We all know how creative French filmmaker Luc Besson can be. His offbeat sensibilities can be seen in his tense crime dramas La Femme Nikita and The Professional as well as his wildly imaginative sci-fi cult favorite The Fifth Element. But he’s been taking a break from making his own films producing and apparently writing children’s books instead. Arthur and the Invisibles is his first directorial effort since the 1999 movie The Messenger: The Story of Joan of Arc and while it definitely taps into Besson’s fanciful notions--which is probably even more evident in the novels--it doesn’t necessarily translate as well to the big screen. Invisibles’ animation is lush and there’s a lot to look at but it’s almost too busy while the tepid yet convoluted story drones on. Invisibles is definitely not adult-friendly.