a-j-kelly

On behalf of me and everyone who agrees with this review, to all of the fallen comrades who had to sit through this nightmare either due to the disastrous PR, for the sake of writing a review, or because your kids dragged you to it, we salute you!

"Snow White and the Seven Dwarfs" and its long-lasting impact can't be understated. The classic launched Disney as the animation giant we know today while being the first feature-length animated feature in film history. It's also an immensely charming, simple, yet incredible delight that earned its legacy and then some. It's a shame that Adriana Caselotti, the titular Snow White, was uncredited in this and her other roles. Her name deserves to be associated with the character for her legendary and unforgettable performance. I'd highly recommend seeing in favor of this occasionally colorful yet predictably dull and extremely tedious extravaganza.

Let me get the positives out of the way so I don't forget to mention them.

First, the CGI was stunning. There were no poor moments of CGI, and the dwarfs weren't as distracting as I thought they'd be.

Next, two songs were catchy and easily the best of the entire film, one original and one from the 1937 version. The "Heigh-Ho" sequence is translated wonderfully into live-action, with slightly different lyrics and an enormous mine setting to play with. The only close to the magnificent original song, despite not having the same visual flare and advantage as "Heigh-Ho," is "Waiting On A Wish." I thought Rachel Zegler's vocal delivery and the instrumentals go a long way to making the song memorable and very catchy.

Finally, if not ironically, the only actor to shine out of the entire cast, despite her insulting comments on the animated interpretation (the main reason I decided to watch this remake), is Rachel Zegler. While the writing doesn't do her character any favors, Zegler's performance as Snow White never ceases to be powerful, especially in the singing department.

Unfortunately and intensely frustratingly, those three positives can't even come close to saving the increasingly abundant flaws throughout the entire experience.

Primarily, Erin Cressida Wilson's screenplay doesn't give any character that much to do. Snow White is the closest to having any depth, thanks to Zegler, but the rest of the characters are painfully forgettable. Additionally, Wilson's work relies on filler rather than anything meaningful. I'm sure she's talented, but none of her talent is present here.

Said script doesn't make the 1-hour and 49-minute runtime any less woeful. Fine momentum shows itself exclusively within the first forty minutes but then loses itself in the filler. About thirty minutes before its dissatisfying ending, my main desire was to leave. "Snow White" is the second film this year where I've had that feeling.

Speaking of which, the ending is plain bad. It strays heavily from the original for the worse, with a stupid final confrontation between Snow White and the Evil Queen. My only spark of misplaced hope once the boredom set in was for the finale to be entertaining, but it wasn't.

Although "Heigh-Ho" and "Waiting On A Wish" were enjoyable songs, the rest ranged from forgettable to terrible. They only brought "Heigh-Ho" and "Whistle While You Work" over from the original, the latter being a disappointing re-do. The rest were new compositions, and they're all bland. The two that stand out as particularly awful are "All Is Fair" and "Princess Problems." I'll return to "All Is Fair" in a second, but "Princess Problems" was one of the worst songs I've heard in film. No offense to Zegler and Andrew Burnap, but their vocal delivery can't save a piece that nobody will listen to outside of watching this film - if this review hasn't convinced you to skip it yet.

Following this, Gal Gadot was unsurprisingly miscast as the Evil Queen. She's by all accounts a talented actress, so it amazes me how, regardless of the evident fun she's having playing the part, none of that charisma or energy translates to the screen. Furthermore, while she tries, her singing is not up to par with the rest of the game cast, in my opinion. Gadot's underwhelming vocal delivery let down "All Is Fair" and its reprise to an unbelievable degree. I hate being this harsh to her performance, and I like her as an actress, but this was not a project that gave her much to work with.

Lastly, where's the Disney magic? I haven't seen it for years. I want it back! None of the new characters were charming, while they removed one of my favorite aspects from the 1937 original: the emphasis on the animal's expressions. The tortoise only gets one close-up shot in the entire thing, while Snow White doesn't interact with any animal outside of the first fifteen minutes. The scene where the animals guide Snow White to the dwarves' home is dialogue-free here, and the seven lack charm past their first meeting with Snow White. These scenes wouldn't been better left unchanged, at the very least. It's a Disney live-action remake; it's what they could've done!

Overall, as much as I don't want to agree with this statement, "Snow White" was doomed to fail. My hope that it'd be startlingly decent, even great, was squandered by the film's execution. I thought "Mufasa: The Lion King" was far from horrible, but this remake is the best sign that Disney should stop making these live-action remakes. They won't quit because they make money either way. I want "Mission: Impossible - The Final Reckoning" to pull through and make more than "Lilo & Stitch," which opens the same weekend, but the track record indicates the next potential Barbenheimer. Whatever: families will likely pay to see it, while moviegoers and critics like me question why they wasted their time. Now that my opinion is massive dislike, the best reason is to review it.

Technically, the screenplay, the acting, and the music underdeliver. However, the CGI, Marc Webb's okay directing, and Mandy Walker's inconsistent yet sometimes beautiful cinematography make the technical score a 7/10, and I'm a bit too generous with that score.

The enjoyment score is a far cry from the technical score. It may differ depending on who you are, but as a person who often watches films and likes not to be begging for one to end, by default, this is the worst movie I have gone to the theaters for yet. Younger audiences will have the highest chance of getting, at the very least, a 7/10 experience, but I can't say anyone outside of that group will have the same luxury. For me, the enjoyment score is a 3/10. It was astonishingly monotonous, and you should try to avoid it. If you want a song to listen to, catch "Waiting On A Wish" on Amazon, Apple, or Spotify. If you're curious, wait until Disney+. If you have no choice, bring coffee or watch "The Day the Earth Blew Up: A Looney Tunes Movie" instead. It's the least you can do for yourself.

In a weekend that saw the likes of "Novocaine," "The Day the Earth Blew Up: A Looney Tunes Movie," and "The Electric State" come out, compared to them, "Black Bag" had the highest chance of being a true standout in 2025. "Out of Sight" and "Contagion" are the only other Steven Soderbergh-directed films I've seen prior, so my excitement came from the talented, all-star ensemble. The premise of a man who must decide between loyalty to his country or to his marriage with the possibility that his wife could be a traitor hooked me. It comes as no surprise that I loved it.

First and foremost, every actor was incredibly captivating. Michael Fassbender and Cate Blanchett were phenomenal, as their characters - George and Kathryn - find their relationship tested by the film's events. Fassbender steals the show with anything he's in, while Blanchett's an acting legend; this is her first major film since "Borderlands." Talk about a comeback! Tom Burke, Regé-Jean Page, Naomie Harris, and Pierce Brosnan were compelling as their respective characters. I've got to say that Marisa Abela's performance as Clarissa matched Fassbender and Blanchett. You may remember her as Amy Winehouse in "Back to Black," where she shined in a flawed yet enjoyable biopic. That film and "Black Bag" prove that Abela has a promising career ahead of her, and I'm genuinely interested in seeing what she does next.

The second star of the show, aside from the large ensemble, is David Koepp's screenplay. I think he's the first case of me looking forward to a film for its writer. Of course, that movie is "Jurassic World Rebirth," although Jonathan Bailey also excites me about a post-Dominion franchise's next installment. For "Black Bag," Koepp provides a thought-provoking piece that starts confusingly but makes sense as the well-paced 1-hour and 33-minute runtime progresses. If we're lucky, this show of screenwriting excellence will get an Oscar nomination. Steven Soderbergh's direction, cinematography under his Peter Andrews nickname, and editing as Mary Ann Bernard (here's a profoundly complex genius, ladies and gentlemen) compliments Koepp's work immensely.

The acting and screenplay help create an atmosphere relying on misdirection. When you think you know the answers and what's happening, the events following your thought will prove you wrong. The atmosphere alone is one of the few in recent memory that demands its audience to rewatch it. I'm convinced to do so once it hits Peacock, which I can't overlook.

Overall, "Black Bag" is a fantastic experience I'd highly recommend. Going home, I couldn't stop thinking about this film. A movie that stays on your mind upon completion is a magnificent phenomenon we need more of.

Technically, the acting, screenplay, directing, cinematography, and editing make the technical score a 10/10.

For the enjoyment score, you need to prepare yourself for this marvel. General audiences may not be able to take away the same enjoyment that older audiences or critics will be able to find. However, I could be wrong since it's still worth checking out with low or high expectations. The enjoyment score is a strong 10/10. To put it into perspective, ever since it came out, I considered "Companion" the best film of this year. I still love that thriller/horror/romcom/dark comedy, and I can't praise Sophie Thatcher's terrific performance enough. However, "Black Bag" offered me more than I ever expected, and I feel that its strengths as an overwhelmingly absorbing showcase of undeniable talent outshine that fun ride, if slightly. Therefore, to my surprise, "Black Bag" is 2025's best offering yet. Another film will likely take that title at any time, but it's worth mentioning every time a new champ emerges. It's an at least two-time must-watch!

I've been curious about "The Electric State." I can't say whether I was excited or dreading it. I was smack-dab in the middle, and "Novocaine," "The Day the Earth Blew Up: A Looney Tunes Movie," and "Black Bag" had more of my attention. Still, the most straightforward reason to watch this movie is because it's on Netflix. After seeing it, it's not as bad as the 17% Rotten Tomatoes score at the time of writing will lead you to believe, but it feels like it should've and could've been more than it ultimately was. The premise had infinite potential, especially considering that WTF $320M budget. Why? You have the Russo brothers attached as directors, but you're not releasing it in theaters! "Avengers: Endgame" you're not, to say the least. However, it's decent entertainment.

First, the acting was good. No one stood out as truly incredible, but Millie Bobby Brown, Chris Pratt, Ke Huy Quan, Stanley Tucci, Anthony Mackie, Woody Harrelson, Giancarlo Esposito, and the rest of the cast (most of that bonkers money perhaps went to them and my next positive, so I again ask why) delivered.

The CGI is perhaps the best compliment that anyone can give towards this movie, whether you like the film or not. I like the design of the robots, and there's never a bad moment containing CGI.

The narrative is intriguing. I can't say whether the final product aced the landing, but Christopher Markus, Simon Stålenhag, and Stephen McFeely's screenplay had me somewhat invested in this high-concept story. Their work includes numerous solid emotional and comedic moments, which I can't deny. Props must go to Anthony and Joe Russo for their large-scale direction and adaptation of this screenplay.

However, let me discuss why Netflix's latest attempt at a direct-to-streaming blockbuster isn't even close to great. Once again, none of the actors shined per se, although you could make an argument for Esposito making his character memorable. The other characters don't have the same luxury, and I'll likely forget all their traits past this review. If you're curious, Brown's Michelle is the second closest to memorable solely due to being the lead, and Kid Cosmo is the third, thanks to his impressive design. Pratt's Keat is the most Pratt you'll ever see Pratted.

Removed from their gorgeous CGI designs, the emphasis on robots is somewhat muddled. We're living in a world with rapidly advancing AI, and although this film takes place in a futuristic 1994, it's a bit on the nose. A line the brother character says toward the end felt out of place, and I won't spoil it, in case you see it, but you may be able to sniff it out once it's said.

Finally, said out-of-place vibes apply to the ending. It carries an important message about communication, but its execution feels like a strong punch to the face. It's like they were saying, "This is what you must know. Have you got it yet? Have you consumed our message into your minds?"

Overall, it's over-hated for sure, but "The Electric State" is oddly too generic to be anyone's favorite film, yet too creative to be forgotten per se. It's in this weird state in the middle where you don't regret watching it, but you won't go out of your way to recommend it to anyone. If you have Netflix, you'll likely watch it out of curiosity. It's so bizarre that Netflix spends hundreds of millions on these direct-to-streaming releases. Yet, they've never done a wide release. "Glass Onion: A Knives Out Mystery," one of my favorite releases from the streamer, I can't wait for "Wake Up Dead Man," opened to $15M on a one-weekend limited release. What are you doing?

Technically, the acting, directing, screenplay, and genuinely stunning CGI make the technical score an 8/10.

Now, for the enjoyment score: you won't waste your time with this film, but you've got far superior options in theaters and on Netflix. It's a 6/10 for the enjoyment score. At least Kid Cosmo was cute.