Julia Roberts' delicious take on the evil queen and the incredible costumes allow this reimagining of the Snow White tale to transcend rough patches like the embarrassing sequence where the Prince is given a "puppy love" potion instead of a "love potion". Additionally, you'll see the true identity of The Beast coming a mile away (although my 7-year-old didn't). If I could've been brought to care about any of the characters other than the evil queen, I would've quite enjoyed this.

Tarsem sigh abi the fall ile bizlerin beklentisini yukseltti ancak film guzel olsa da holivuddan soguyan ben gibi insanlara hitap etmiyordu yine de yonetmeni icin izlenir. ayrica filmin kliseleri yok etmesi ayri bir guzellik.

It's fairly dramatically inert, with an unconvincing love story and pretty flat performances from the central trio of Collins, Roberts, and Hammer. However, there are some painterly visuals as you might expect from a Tarsem film, and a delightful cameo near the end from an actor I actually love and had no idea was in the film. Perhaps decent for younger, budding fantasy fans.

"Like Rodgers and Hammerstein's Cinderella with just a dash of Lars von Trier's Dogville, Tarsem Singh's rendering of this revisionist fairy tale is less cinematic than it is purposefully theatrical." - R. Kurt Osenlund

Great sets and costumes. Some nice ideas and some boring ones. Don't really know who will embrace it. It's not a film for children, and most of the adult audiences won't be interested. Roberts is great. The song at the finale is so out of place. I can go on like this. Anyway... It's decent.

cool and funny, perfect movie for a girl! the plot isn't the way I wanted it to be.

Watching it, the film was able to raise a chuckle or two - with Julia Roberts and Nathan Lane on fine form, how could it not? - but looking back on it, the film strikes me as dull and long. While Tarsem does have visual flair, his costumes and designs distanced me from the film - they were expressionist but with nothing to express. Plus the utter lack of chemistry between Lily Collins and anyone, let alone with Armie Hammer ensures the film's tedium. The ads were right - this is one bad apple!

Charming but ultimately inconsequential

A striking visual treat somehow lost between irony and ingenuity, with an inert romance provided by Lily and Hammer, an evil Julia Roberts as Julia Roberts and a crazy team of seven dwarfs. As a fairy tale meant to be a CGI flick, couldn't be any worse or better.

What MIRROR MIRROR has--and far too many films lack--is a sense of sincerity and warmth, and a willingness to embrace its own fantasy. But it aims to be a comedy, too, and the comic timing for much of it just isn't there (the script is no great shakes either), despite the valiant efforts of the actors (Armie Hammer is great, Lily Collins strong, the dwarves quite fun) and the magnificent sets and costumes (Eiko Ishioka went out on a high note). Tarsem, for all his skill, needs better writers.

Tarsem knows how to do visuals, and despite my skepsis (I saw Abduction, let's leave it there) Lily Collins really won me over and carried this film (with help from Nathan Lane) through charm alone. But as usual, I could have been without Julia Roberts. The biggest problem is the flawed script which has only a few shining moments (I finally realized I liked the film around the time of Hammer's "focus-group" line). Compared to last year's dreadful Red Riding Hood, Mirror Mirror is a masterpiece.

very funny 10 out of 10

Whatever Tarsem had, he's lost it. The only remnant is the costumes. It's all filmed on cheap sound stages, the acting is terrible, and the story starts of silly and gets worse. You can put Julia's career on life support. The lull drags on after a slight respite for wide releases anyway. One more apple goes bad.

The whole thing is a kind of sumptuous visual pageant. It really means to be more darling than daring, but the production is above and beyond expectation here. The plot is orderly but unsurprising, the dialogue I found the weakest, but interesting still was with a code-switching throughout, the deliberately dramatic dialogue uses sparkling modern directness almost like an aside. Two more thoughts: Nathan Lane carried the cast, and the ending was fairy-tale worthy. Giggle like an eight-year old!