Reviews provided by RottenTomatoes
Even if you're as annoyed by the movie as I was, you'll come out laughing the costumes.
"Mirror Mirror'' is just a limp, jokey family film that wants to have its fairy tale magic and its hip irony, too.
Yes, Tarsem Singh's goofy take on the "Snow White and the Seven Dwarves" fairy tale looks the part; pity the characters had to open their mouths.
Mirror Mirror is an odd little fantasia of a movie -- part jaunty adventure, part broad romantic comedy, part auteurist spectacle.
...one needn't be asking too much of Mirror Mirror in order to be at least occasionally disarmed by its pockets of genuine eccentricity.
New York Times:
While Mr. Singh knows how to make performers and sets look good, he has trouble putting them into vibrant, kinetic, meaningful play, which effectively means that he's a better window dresser than a movie director.
Singh brings cheeky humor, an eccentric sensibility and an enchanting look to his re-imagined tale.
All of Mirror Mirror is visually striking, even when it works on no other levels.
Not all of the twists on the story work, but for the most part it's well-meaning, goofy good fun.
J. R. Jones,
Singh is much more skilled as a visual artist than a storyteller, and his artistic fortunes seem to rise and fall with the inspiration of his screenwriters. In this case he's lucked out.
Dallas Morning News:
There's no center to Mirror Mirror, no sense that anyone involved knew what exactly what they were shooting for.
Mirror Mirror is a film that's all picture and no propulsion, each scene static in a basic set-decoration color scheme of teabag and banana.
Eric D. Snider,
An attitude of mischief and charm rather than outright satire.
A twisted spin on the classic Snow White fairytale that strives for a humorous contemporary edge but mostly misses.
Los Angeles Times:
A booster shot of testosterone lends kinetic kick to director Tarsem Singh's visually inventive interpretation, without shortchanging the requisite froufrou or sugarcoating the story's dark Oedipal heart.
The dwarves provide wonderful fun, Singh's visuals have true magic and Alan Menken's score is charming.
It's a clever, luscious-looking fairy tale you really can take kids to - no allegedly family-friendly snot-and-fart humor here - and a bundle of high style and sharp wit and terrific performances for yourself.
New York Daily News:
It's charmless, shoddily executed and will surely be explained away by Roberts as the kind of film actors do "for their kids." If that's so, she should've done a better movie.
New York Post:
The screenwriters of this attempt to do a hip comedic take on the legend were licked by Page 5. Why did they keep going?
Perhaps the overriding problem with Mirror Mirror is that it mines territory so overworked that there's nothing new or valuable to be found.
The dialogue is rather flat, the movie sort of boring, and there's not much energy in the two places it should really be felt: Between the Queen and Snow White, and between Snow and the Prince.
Who wants to see a fairy tale that weighs a ton? Mirror Mirror reflects badly on everyone involved.
Globe and Mail:
When the dust settles, all that's left are a few motes of lame comedy atop a few million bucks worth of overdressed sets. Call me Grumpy, but this seems less an adaptation than a random assault.
Part of Mirror's problem is that the screenplay, credited to two writers and with a third getting a story credit, is all over the place.
'Mirror Mirror' is as gaudily spectacular as you expect if you've seen director Tarsem Singh's films, 'The Fall' and 'Immortals'.
Like all of Tarsem's films, story takes a backseat to visuals, and there's plenty to pop the eyes-love those life-size string-puppet assassins!-if not, ultimately, to stir the soul.
This rambling version of Snow White's tale is a pretty, spun-sugar confection, airy as a plate of Easter egg-coloured macarons and similarly devoid of substance.
The dialogue and the action are, for the most part, rather dull and weirdly devoid of energy.
[It] ultimately suffers the same fatal flaw as Julia Roberts' evil queen: It doesn't really care about anything except how pretty it looks.
Here, the familiar tale is retold with concessions to feminist self-determination and camp humor, bending the Grimm Brothers' tale without infringing on its basic beauty.