Audiences have seen live-action retellings of beloved princess tales that shaped generations. Some, like “Aladdin” and “Beauty and the Beast”, have hit the mark.

But in recent years, Disney has been under fire for modernising classic stories to the point of stripping them of their original charm. And now, they have delivered “Snow White” – a film that has been controversial since the day it was announced.

The backlash has largely stemmed from comments made by lead actress Rachel Zegler in 2022 in which she dismissed the original 1937 version as being too focused on a love story and a prince saving her, stating that the new version would instead showcase Snow White as a strong leader.

This “woke feminism” didn’t sit well with many audiences, making scepticism run high long before the film even hit theatres.

Now that it has, the numbers aren’t looking great. So, is the film truly that bad, or is it simply bearing the brunt of pre-release controversy? Let’s dive in.

Directed by Marc Webb, this film follows the same basic framework as the original. Snow White (Zegler) lives under the rule of her vain and cruel stepmother, the Evil Queen (Gal Gadot), whose magic mirror declares her the fairest of them all – until, of course, Snow White enters the picture.

Enraged, the Queen orders her death, and the story unfolds as everyone knows it.

Right off the bat, Zegler isn’t as terrible as many feared. While she lacks the magnetic, ethereal screen presence one expects from a Disney princess, she captures the sweet and innocent essence of Snow White decently enough.

However, the real disappointment comes in the form of Gadot’s Evil Queen, who is – ironically – not menacing in the least bit. Gadot’s performance is so underwhelming that even her iconic magic-mirror scene lands with a dull thud.

Another controversial aspect of this remake was the decision to ditch real dwarf actors for the Seven Dwarfs with CGI characters. While this move upset many, particularly within the dwarfism community, it has ironically ended up being one of the few bright spots in the film.

The introduction of the dwarfs through the classic “Heigh-Ho” song is genuinely heartwarming and hilarious. The film gives Dopey extra importance this time around, which is a surprisingly nice touch. And let’s not forget the adorable woodland creatures.

However, there’s such a thing as too much music. While songs are meant to move the story along in a musical, here, they often feel like unnecessary interruptions. Instead of pushing the plot forward, they feel like forced pauses – a little breather before trudging on with a lacklustre narrative.

Now for the biggest plot change – one that everyone saw coming. There is no prince.

Instead, audiences get Jonathan (Andrew Burnap) as her love interest, a brand-new character who’s essentially a bandit with Robin Hood vibes.

Jonathan and his group steal from the rich and remain loyal to the rightful king. Snow White first meets him when she rescues him from being caught stealing food.

In a reversal of traditional fairy-tale roles, she even takes on the role of the “prince” at one point, riding a horse in her iconic yellow dress to save him yet again.

For the most part, this change isn’t unbearable. But then comes the finale – the moment that derails the entire film.

In the classic “Snow White and the Seven Dwarfs”, the prince’s kiss breaks the spell, awakening Snow White, and they ride off into the sunset.

This remake, however, doesn’t end there. Without giving too much away, after Snow White wakes up from her poison apple slumber, she does something that aligns perfectly with Zegler’s earlier comments about the film’s “woke feminism” – and it is laughably bad.

Snow White “converting” the villains with a few motivational words? That’s not feminism; that’s just bad writing.

Despite its storytelling misfires, the film does have some redeeming qualities. The transformation of the Queen into the old hag is executed beautifully, with stunning animation and seamless effects. For a brief moment, you’re reminded of Disney’s ability to create eerie, visually striking sequences.

While “Snow White” attempts to be bold and progressive, it ultimately stumbles and veers wildly off course. Disney, take note: audiences love a good twist, but not when it turns a classic fairy tale into a lifeless, uninspired mess.